After her first feature screened at Sundance, Cauleen Smith lost patience with the film industry’s conservatism and devoted herself to art; her work is currently in the Whitney Biennial and Migrating Forms at BAM.
In Strong Island, Yance Ford lays out the peculiar circumstances that surrounded his brother’s murder in 1992, and the void left in its wake.
Bertrand Bonello’s Nocturama follows a group of Parisians as they plan and carry out coordinated terrorist attacks and then hole up in a luxury department store.
We are attracted to the places where bad things have happened, but we rarely reflect on what actually occurred therein.
A monthlong series at the Brooklyn Academy of Music chronicles two decades of films by African American women, including a slate of powerful documentaries.
Recent books by Tim Lawrence and Douglas Crimp underline the close relationship between the New York art scene of the 1970s and ’80s and that most unjustly maligned of musical movements, disco.
Robert Bresson’s Notes on the Cinematograph, first published in 1975 and about to be reissued by New York Review Books, is not a manifesto or unified theory.
Is a film that is almost devoid of its main component still a film?