Isabel Castro’s Mija follows two daughters of immigrants breaking into the music business.
For years, Eye Filmmuseum’s Jan Bot has turned film fragments into digital experimental shorts. Now, with the project ending, those shorts will be archived via NFT.
The documentary has impressive access to contemporary art world figures, but comes up with no good solutions for the many problems it discusses.
Blending documentary and reenactment, director Chan Tze-woon compares and contrasts contemporary and historical activist movements.
We Met in Virtual Reality raises the bar for VR filmmaking, and has an optimistic vision for the potential of the metaverse.
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.
Nathan Fielder’s new show deepens his weird, discomfiting, and hilarious investigation into the line between what’s fake and real.
The well-researched podcast has done deep dives into US attempts at regime change in Iraq and Cuba, with its new season tackling the Korean War.
The New Delhi-based gallery and performance space Party Office wants Documenta to offer a public apology after artists reported incidents of racism and transphobic harassment in Kassel.