In the early 1960s, Eduardo Coutinho began shooting a film about the murder of Brazilian trade unionist João Pedro Teixeira.
A letter from Brakhage to the poet Robert Kelly describing his work on the groundbreaking film Mothlight.
Uncovering the artist’s innovations and legacies.
The filmmaker tracks the development of his research-based cinema from evocations of childhood memory to adaptations of Indian paintings and literature.
Inspired by Japanese “landscape theory,” a Parisian artist-filmmaker explains why he prefers to show us the world as his subjects see it.
A restored masterpiece unmasks Tokyo’s underground gay subculture of the 1960s
“I don’t make films for the audience, I make them for the subjects, and I try to position those subjects and the camera so that there’s a element of generosity between the two.”
Agnès Varda’s aesthetic tides change, inviting us to switch positions of viewing, knowing, and feeling, for old narratives to wash away and new portals of sensation to open up.
“If someone hands over their repertory theater group to you, what are you going to do with them?”
Eduardo Williams’s debut feature takes us around the world on an ethnographic tour of labor, leisure, and logins.
It was October, and autumn was at its highest. I found myself in Croatia, in Zagreb, near the mountain of Sjleme for two months, and there I began filming Hibernation.
“It’s really important that my colleagues, the filmmakers from all Yugoslav countries, turn their cameras toward themselves, so as to dissect and question what really constitutes our recent history.”
With The Seasons in Quincy, filmmakers Tilda Swinton, Colin MacCabe, and Christopher Roth produce portraits of art critic and novelist John Berger.
Accurately described as a kino-essay by its maker, Notfilm is about Samuel Beckett’s Film, starring Buster Keaton, which Lipman restored digitally from the 1964 original.
Peter Hutton was an American filmmaker who spent many years of his youth at sea in the US Merchant Marine. His celebrated films, widely acclaimed for their luminous integrity, blurred the divide between still photography and cinema.
“Like holding hands with a stranger—for kind of a long time.”
“You’re looking at the human inverse of a technological idea.”