BOSTON — The Independent Film Festival of Boston started out earnestly and enthusiastically in 2003, blowing the minds of locals and filmmakers by being a polished, world-class (and yet 100% volunteer-run) operation from the get-go.
The Banksy Job looks remarkably like the 2010 mockumentary Exit Through the Gift Shop, but its co-directors maintain that the whole thing is unscripted.
The US Cavalry massacred over 300 unarmed men, women, and children at Wounded Knee Creek in South Dakota in 1890, and those who didn’t die from the bullets were left to freeze in the bitter December cold.
The New York Times is one of the few publications with full-time obituary writers on staff, who each morning tackle a new life suddenly at its end, summing up in a few hundred words how this one person changed our world and why we should care.
Perhaps most surprising about the new film Burden, directed by Timothy Marrinan and Richard Dewey and screening at the Tribeca Film Festival, is its depiction of artist Chris Burden’s dramatic transformation from a rabble-rousing student in the 1970s to a mild-mannered landowner in 2014.
The communal experience of watching a film in theaters is a prime part of moviegoing, but at this year’s Tribeca Film Festival, solitary visual consumption is receiving ample attention.
The texture and peculiarity of history, place, and the everyday color a ruminative set of short films in this year’s Art of the Real at the Film Society of Lincoln Center.
Ever-moving, ever-changing — that’s the cinema of Bruce Baillie.
In The Book of Conrad, a documentary profiling the life and creative practice of poet CAConrad, we see anger anew: as the impulse behind living, behind ritual, even behind prayer.
Parisian by way of Soviet Georgia, director Otar Iosseliani, whose new film Winter Song premiered this past week at the Film Society of the Lincoln Center’s Rendez-Vous with French Cinema, is what one might refer to as a citizen of the world.
It’s the 1990s when a young, ambitious filmmaker goes on the hunt for “the Watermelon Woman,” a black actress who played mostly mammy roles in 1930s and ’40s Hollywood films.
What does it mean to be Ojibway now, in 2016?