Plus ça devient vieux, Plus ça devient bête
By Jaap Verheul
The European Bourgeoisie in Michael Hanekes Amour
Austrian-German filmmaker Michael Haneke is often considered the most European of directors.
By Jason LaRivière
Rick Alversons The Comedy
The Comedy, directed by Rick Alverson and starring Tim Heidecker with Eric Wareheim in a supporting role, is the blackest comedy about white privilege since at least David Finchers Fight Club, that fin-de-siècle paean to libertarian survivalism and Brad Pitts abs.
RETURNING THE FOURTH WALL
By Rachael Rakes
Reenactment as Recursion at CPH:DOX
In the 10 years since the inception of the Copenhagen International Documentary Festival (CPH:DOX), Scandinavias major documentary festival, nonfiction filmmaking has arguably undergone more changes than in all its prior decades combined.
A HOLLIS FRAMPTON ODYSSEYBy Leo Goldsmith
Hollis Framptons career as a filmmaker was somewhat brief: His earliest works were made in 1966, and he continued making films consistently until his untimely death from lung cancer in 1984, when he was only 48. Nonetheless, few figures loom as large in the history of American avant-garde cinema, proliferating ideas about and through the cinema that continue to reverberate among todays practitioners.
By Katie Rogin
Middle of Nowhere and Nothing But A Man
Writer-Director Ava DuVernays second feature, Middle of Nowhere, is all about facesblack faces in extreme close-up.
THE OUTER LIMITS
By Leo Goldsmith
First Look at Museum of the Moving Image
Only in its second year, the Museum of the Moving Images First Look has staked its claim in that undiscovered country of films that have traveled the international festival circuit, but havent yet found a venue in New York.