Tsai Ming-liang’s newly restored film Goodbye, Dragon Inn flips the notion of moviegoing as a sanctified experience.
Emphasizing obscured histories, Vento inspires hope that the biennial programs to come will be potent enough to raise some dust in Niemeyer’s drafty halls.
This year’s online edition of the venerable festival features movies about mourning rituals, reenactments of family history, cult survivors, and more.
Director Alexander Nanau tells Hyperallergic how he got such incredible access to journalists and government officials for Collective.
Featuring a stunning series of watercolors based on Dante’s Inferno, Nogueira’s latest exhibition sheds new light on her gift for haunting evocations of the female body.
Get your popcorn ready. This year’s program includes highlights like Steve McQueen’s Small Axe films, ruminative queer romances, and incisive documentaries about US politics and Helen Keller’s activism.
Three of the Argentine director’s films are now on the Criterion Channel, and they demonstrate how she complicates ideas of female agency and power.
With her New York debut on the horizon, the Afro-Brazilian artist, known for her seductive, textile-based sculptures, is finally, and rightfully, receiving international recognition.
Inspired by true events, Melina León’s debut drama is a captivating vision of unredeemed humanity.
In Lange’s photography, human ingenuity and grace triumph over the unspeakable blows of the Great Depression and other social oppression, even when hope is in short supply.
In Radical Virtuosity, Genevieve Hyacinthe brilliantly reframes Mendieta’s celebrated works, yet for a book so rooted in race, the final analysis feels only half-full.
Edited by the late, great Anette Michelson and Kenneth White, the essays in Michael Snow refresh our notions of experimentation.