A portrait of Langston Hughes and Black queer Harlem.
A short history of Detroit techno.
I never made a decision to become a film editor—or, in any case, I didn’t decide upon it at a young age and follow a single career path.
The two Chinese-born filmmakers reflect on Wang’s new documentary One Child Nation and her unique approach to blending the personal and political.
Jim Henson’s Netflix prequel is a masterpiece of puppetry filled with allusions to our contemporary moment.
A film about departures, the kind without return.
Shot on a vintage news camera, with a script containing appropriated texts, The Plagiarists is a sendup of indie movie tropes and notions of creative authenticity.
A 1950s queer cinema staple has been restored.
The filmmaker discusses his resurgent work still/here and the examination of landscape and history through the lens of race.
Much silence fills the exquisite visual tableaus in German filmmaker Angela Schanelec’s I Was at Home, But…
The artist talks about his film Joan Mitchell: Departures and its relation to Eternalism.
The filmmaker speaks about The Souvenir, class, gender, and the autobiographical.
The pioneering filmmakers discuss morality and dissent in Hara’s highly subjective documentaries: “It takes a toll to discover what binds your heart to the subject.”
The Singaporean filmmaker on migrant labor; visitations; and his recent work, A Land Imagined.
The filmmakers take an unexpected approach to documenting people in the final stage of life.
A forgotten feminist fairy tale and Björk’s big-screen debut, The Juniper Tree, returns.
The artist and documentarian on capturing the vernacular South.
Notions of ecological precarity and technological mediation enfold in the degraded landscape; the video artist surveys her decades of prescient and pressing work.
The filmmaker and photographer discusses the return to her work on Russia’s inmates.