Dave Sim’s Cerebus, published 40 years ago, has had an enduring, complex influence.
By accepting patriotic doctrine even as it claims to present all sides, the epic documentary takes some slippery liberties with truth and history.
The independent game festival offers everything from VR to modified old-school SNES setups to an “interactive zine.”
In Cameraperson, documentary cinematographer Kirsten Johnson turns the lens back on her own experiences working on films.
The festival presents exceptional films in all styles of animation, from anime to stop-motion.
Artist Xu Bing’s first feature film Dragonfly Eyes tells a story of love and obsession through footage culled entirely from videos uploaded to Chinese streaming sites.
The festival has a choice selection of experimental works under its Wavelengths banner, from a documentary about Standing Rock to a film on black activist poetry in Detroit.
Bill Morrison’s newest work, Dawson City: Frozen Time, tells the story of an unlikely triumph for film preservation and history.
Lauren Greenfield’s Generation Wealth, a book and exhibition of the same name at the Annenberg Space for Photography, documents the out-of-control growth of the one percent.
Mirror Mirror II, the second annual collection from 2dcloud, is like a porn stash you’d find in the cupboard of a medieval demon.
Rather than make the series feel dated, identity issues in the cyber age make the 1995 film seem extraordinarily prescient.
The journalist and documentary filmmaker discusses his recent film HyperNormalisation and past projects, as well as his plans to make a documentary on the West’s relationship with Russia.