PEDRO PINHO with Jesse CummingBy Jesse Cumming
A Portuguese elevator factory might not seem like the most obvious setting for a maximalist experimental feature about the state of contemporary labor, but anyone who follows the more audacious streams of Portugal’s national cinema knows to always expect the unexpected.
“The Primary Event was the Performance”: Anthony McCall’s Play with LightBy Swagato Chakravorty
Anthony McCall: Solid Light Works at Pioneer Works is a triumph of an exhibition that is deservedly attracting massive audiences.
FEMEXFILMARCHIVE with Benjamin Schultz-FigueroaBy Benjamin Schultz-Figueroa
In the Fall of 2017, the filmmakers Irene Lusztig and Julie Wyman orchestrated a joint project between two classes being taught at the Universities of California, Santa Cruz and Davis.
A Methodone Film: On Ashley McKenzie’s WerewolfBy Jessica Dunn Rovinelli
Tracing a sequence of small moments in the lives of two methadone clients in Nova Scotia, the debut feature by director Ashley McKenzie, is something like a series of small disidentifications, feints, and tweaks on various film formulas.
Looking Again, Slowly: On Hong Sangsoo’s Claire’s CameraBy Peter Kim
Claire’s Camera is one in a series of Hong Sangsoo’s recent films to feature actress Kim Min-hee and revolve around a recurring storyline: a woman’s affair with a film director.