A radical “mirror game” between film and live performance, What If They Went to Moscow?, part of BAM’s Next Wave Festival, plays for two audiences, one in the theater and one in the cinema—then they switch.
Navajo language, photography, and the shifting landscape of the Southwest guide the poet’s latest collection, Dissolve.
On the eve of Signs of Empire, his current show at the New Museum, the British artist and filmmaker elaborates on how philosophy and the history of cinema have influenced his practice.
“A film is always an attempt, nothing more, and that allows for a sort of dialogue.”
The cinematographer and director on her memoir, Cameraperson.
“I’m thinking about how we experience, or try to experience, infinite space and time through the most finite, basic methods.”
Compassion, religion, and secrets in a North Dakota boom town.
Shining a light on Latin American cinema.
Filmmaking as a collective project.
“I’m somewhere between Bresson, Godard, and the NBA.”
“My addiction has to do with performance, with creating a very real situation and then dealing with all the physical problems surrounding it.” —Matthew Barney
Québécois filmmaker Denis Côté on filmic revenge, horror, and making a film in seven days.
Godfrey Reggio on his new film Visitors, a piece of poetic, experiential cinema, with an original score by Philip Glass.
Romanian auteur Mungiu’s Beyond the Hills, which fuses naturalism with the escalating dramatic tension between two young women, won awards for best screenplay and best actress at Cannes.
Yang Fudong, known for his his elegant, puzzle-like films, speaks with curator Li Zhenhua about his latest project The Fifth Night.
Some images in life and art remain seared in one’s memory because of their sublime effect and power. Such images are found and masterfully constructed in the films of Cauleen Smith.
Gaspar Noé’s new film is a psychedelic experience of Tokyo shown through the eyes of the deceased protagonist.