Sky Hopinka’s rapturous feature-length debut, małni—towards the ocean, towards the shore, which premiered at this year’s Sundance Film Festival, elaborates on his previous explorations of Chinuk Wawa while hewing to a more linear structure.
Gomes, who lives in Rio de Janeiro, often works from home, where daily, mundane objects are not distinguished from sculptural pieces.
Kicking off today at Film at Lincoln Center, the series presents a body of work that’s particularly heartening when one considers the encroachments on freedom that Brazilian cinema must now confront.
Devoted to experimental film and video work, the annual sidebar presents a range of shorts that explore the negotiation of identity in manners both playful and stark.
The Surrealists’ insistence on irrationality was not a sport, but an attempt to engage in the political debates of their time.
Seeking to upend the male-dominated canon but directed by a man, Women Make Film: A New Road Movie Through Cinema defies some hierarchies while reinforcing others.
The festival’s vaunted Wavelengths section features films about different concepts of performance.
Neither a political thriller nor entirely a noir, Benjamin Naishtat’s Rojo is an eerie film in which the stakes feel painfully high.
Originally presented at UCLA’s Film & Television Archive, a film series brings rare 16mm prints by the legendary filmmaker to the Museum of the Moving Image in New York.
Hailed for his exuberance and fluid style, the Egyptian filmmaker graces big screens again at Il Cinema Ritrovato.
Rhodes’s diverse collection of feminist films show an obsessive concentration on language as a system of signs that reveals but also reinforces the oppressive structures faced by the world’s most vulnerable populations.
In a Lonely Place isn’t so much a straightforward thriller as it is a poignant psychological study of a person and a milieu, veiled as an atmospheric noir.