Support Hyperallergic’s independent arts journalism.
As befits the name, the Museum of the Moving Image’s annual First Look festival presents the US and/or New York premieres of many of the latest international arthouse films. Because of the pandemic, last year’s iteration of the festival had to take place in an abbreviated, online-only form. This year’s version is in many ways a “makeup” for last year, hence it being called First Look 20/21. Mixing both in-person and online events, the program combines new titles with films that had been planned for last year but ended up not being shown. Additionally, the weekend series, Working on It, will allow passholders into creative workshops with filmmakers and critics.
Highlights of this year’s program include Claire Simon’s The Grocer’s Son, the Mayor, the Village, and the World…, a documentary about a rural French village that plays host to an online film festival, Michael Andrianaly’s Nofinofy, about a Madagascar hairdresser cast adrift after his salon burns down, Bottled Songs, a series of epistolary video essays about contemporary terrorist messaging by Kevin B. Lee and Chloé Galibert-Laîné, and Phillip Warnell’s Intimate Distances, which follows a woman interrogating random passersby on the street in Astoria.
Tickets for regular events are $15 ($11 for seniors and students, $9 for youths, $7 for Classic-level MoMI members, free for Senior and Student-level MoMI members). Tickets for the opening and closing night events are $20 ($15 for members). All-access passes (which grants access to opening and closing night, in-person and virtual cinema screenings, and Working on It) can be purchased for $100. An in-person pass (which grants access to all on-site screenings and Working on It) costs $65 (the value can be applied to a year-round museum membership).
Where: Online and in-person at the Museum of the Moving Image (36-01 35 Avenue, Queens)
When: In-person events through August 1, virtual cinema through August 8
More info available via Museum of the Moving Image.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.