The documentary has impressive access to contemporary art world figures, but comes up with no good solutions for the many problems it discusses.
Directed by virtuous animator Genndy Tartakovsky, Primal is a continuously inventive and exciting adventure through a prehistoric fantasy world.
We Met in Virtual Reality raises the bar for VR filmmaking, and has an optimistic vision for the potential of the metaverse.
It’s another equally thrilling and smart ride from the rising director, subtly tackling intersecting ideas about “seeing” and “being seen” along the way.
Hyperallergic talks to historian Isaac Butler and curator Livia Bloom Ingram about how performance technique evolves and what is and isn’t method acting.
Aftershock, directed by Tonya Lewis Lee and Paula Eiselt, explains the disproportionate rate of Black maternal mortality in the US.
From Where They Stood examines the rare phenomenon of prisoners who were able to provide direct victim documentation of the Holocaust.
Hyperallergic talks to programmers Róisín Tapponi and Jed Rapfogel about their Anthology Film Archives retrospective and formative erotic film experiences.
Stuffed with references to historical and contemporary film, Olivier Assayas’s miniseries version of his own 1996 film Irma Vep is sometimes too clever for its own good.
Set in remote Idaho, Bitterbrush is a satisfyingly different kind of Western.
Portuguese filmmaker Filipa César, whose work is the subject of an online retrospective hosted by Metrograph, seeks to help Bissau-Guineans preserve the memory of their revolution.
Made over the course of 30 years by special effects legend Phil Tippett, this stop-motion animated epic is a feast of creatively horrifying imagery.