Directed by Raoul Peck, I Am Not Your Negro is montage and meditation, a dialogue between the archive and the present.
In Hypernormalisation (2016), Adam Curtis not only anticipates Trump’s victory, but also zeroes in on the abject disbelief and shock that followed in its wake.
Eternal Bruce Lee will share the purest portrayal of Lee’s style by using the closest possible reproduction of the crisp, colorful, large images audiences saw in cinemas in the 1970s.
Robert Kramer’s 1969 film Ice, about a group of revolutionaries in New York City, is part of a series of dystopian movies screening at Anthology Film Archives to coincide with Donald Trump’s inauguration.
Recent documentaries about two well-known female painters make for a potent double bill at Film Forum.
Moonlight is largely about the violence done to Chiron that enmeshes him in silence, against the grain of moments of inexplicable kindness that break through to nurture him towards trust.
Peter Middleton’s and James Spinney’s Notes on Blindness is a dramatic account of English theologian John Hull’s loss of sight.
Fenton Bailey and Randy Barbato’s new documentary Mapplethorpe: Look at the Pictures offers intimate insights into the controversial photographer’s life and persona.
Ismaïl Bahri’s film began with a simple premise: he would walk around Tunis with a white sheet of paper taped over his camera lens and record the changes of light.
A new animated biopic offers insight into the career and work of Hokusai through the life of his daughter, a fellow artist in Edo-era Japan.
Is a film that is almost devoid of its main component still a film?
PARIS — Dance that pushes sensual and temporal boundaries and sculpture that pushes formal boundaries share a solid connection while simultaneously remaining, in many respects, in distinct opposition.