Film Review
“The Man I Love” Wants Us to Do More Than Mourn
Ira Sachs resists the attention economy, using objects and people to tell a moving story of 1980s New York amid the HIV/AIDS crisis.
Film Review
Film Review
Nathan Fielder Is a Performance Artist in Disguise
“You Can See Everything” is toted as a documentary, but is Fielder a performance artist playing a documentarian?
Film Review
To Be Alone With Your Thoughts in '70s New York
Fred Camper's contemplative film "Suicide Note" was born out of grief and a city in collapse.
Pocket Review
This Iranian Documentary Wasn’t Meant to Begin This Way
In Mani Haghighi’s new film, an artist’s extensive archive draws the ire of the authorities.
Film Review
Artavazd Pelechian’s Distant Connections
Through his “distance montage” technique, the Armenian filmmaker’s masterpieces are built around impressions, not stories.
Film Review
Faith and Its Contradictions in “9 Temples to Heaven”
Director Sompot Chidgasornpongse, who has a knack for patient observation, follows a single family on a quest to find a miracle.
Film Review
The Rough-and-Ready Brilliance of Barbara Hammer’s “Nitrate Kisses”
Newly restored in 4K, the film feels prescient as groups are once again being scapegoated for public health crises and financial instability.
Film Review
A Portrait of an Artist as a Dominatrix
“I Want Your Sex” is a caricature of the art world more than an actually incisive critique, but it’s funner that way.
Film Review
Barbara Hammer Through Her Own Lens
“Barbara Forever” is both a biography and a conversation the late filmmaker has with herself.
Film Review
The Thorny Politics of Protest Photography
A new documentary follows the work of activist and photographer Misan Harriman, but risks overly aestheticizing the movements he captures.
Film Review
A Homerist Reacts to Christopher Nolan’s “The Odyssey”
“This is a tale of a man affected by trauma, but without any sense that it changed him at all.”
Film Review
Four Centuries Later, We Still Don't Get Caravaggio
A British docudrama serves as a salutary primer on the Baroque master’s greatest works, but we should be wary of what it tells us about the personality of its subject.