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Video

A Museum Where the Paintings Look Back

by Julia Friedman on November 5, 2014

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National Gallery, which premiered last month at the New York Film Festival, is the most recent of Frederick Wiseman’s 40-plus documentaries that feature single institutions.

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The Cynical Optimism of Errol Morris

by Julia Friedman on October 22, 2014

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In an interview earlier this year with The European Magazine, Errol Morris was asked to use one word to describe his work. His answer: “perverse.”

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An Intimate Portrait of Edward Snowden

by Julia Friedman on October 21, 2014

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Citizenfour, Laura Poitras’s documentary about Edward Snowden, premiered to a sold-out audience at the New York Film Festival on October 10.

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Post image for Martin Scorsese Celebrates a New York Literary Institution

The 50 Year Argument, Martin Scorsese’s new documentary about The New York Review of Books, uses the same opening-sequence footage as another film about life in the Big Apple: West Side Story.

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Post image for Exposing the Blood and Guts of Hollywood’s Teen Girl Fantasy

LOS ANGELES — Laura Parnes’s four-disk video series Blood and Guts in Hollywood exposes the idealized teenage dream for what it is: A boring, vapid fantasy of “love” that is marketed and sold to an audience of young dreamers searching for their soulmate in the illusions of silver screens and false idols.

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A Will for the Woods film

In the United States, funerals often seem to be at war with death’s decay. Rather than let our bodies decompose into the soil, we embalm and coat them in makeup, seal them in wood and metal caskets, lower them into waterproof vaults.

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Still from 'Boy Meets Girl'

Thirty years after its release seduced critics with a nocturnal, jumbled dream of love and light, Leos Carax’s debut film, Boy Meets Girl, continues to burn with contradictions, seeming somehow to be younger today than it was yesterday.

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Ellar Coltrane, age 9, in 'Boyhood'

The big bet pays off in Boyhood, much like the risks of early life: making friends, changing the way we think and look, the things we do.

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Post image for A Portuguese Filmmaker with the Eye of a Dutch Master

A turn-of-the-century period piece, largely without a plot, that takes place almost entirely in a single room — and directed by a man who’s almost as old as the medium within which he works, cinema itself? Of course. Why not?

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Post image for The Plausibility of a Jewish Nun in Postwar Poland

Whenever a film arrives on the scene that has something exceptional, eccentric, or anomalous about it, it’s always likely to arouse the most excited, hyperbolic, and oftentimes varied response from critics. Pawel Pawlikowski’s Ida seems to have accomplished just this.

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