“I was motivated to pursue a way to change the conditions that were causing Black artists I interfaced with every day to say, ‘They won’t let us, they won’t let us, they won’t let us.’ I got tired of hearing that, and I said, ‘Fuck them! Let’s start a gallery!’ So that’s how JAM got started. It was never about being included.”
—Linda Goode Bryant, “Recollections, Linda Goode Bryant” in Soul of a Nation: Art in the Age of Black Power
Far away from any coastline. Where the wind strikes the water for the first time. Where waves start to grow. A young wave stretches its quivering back, reaching for the wind.
The insurgent Argentine documentarian’s retrospective screens at Anthology Film Archives from February 22 through 28.
Invited to examine the human geography of lower Louisiana for the 2017 Prospect New Orleans triennial, Jeff Whetstone set off for the batture, a patch of land that separates the Mississippi from the city’s levee.
From Andrei Tarkovsky to Lucrecia Martel, Peter Hutton to Nathaniel Dorsky, entire aesthetic philosophies, genres, and approaches to filmmaking have been rooted in the elements.
An ecumenical, eccentric, ecstatic, illegible, undigestable stew.
Examining the politics of representation.
The Argentine filmmaker on colonialism, recreating history, and Zama.
A pioneer of feminist filmmaking considers how social engagement, literature, and a keen sense of the corporeal inform her vision.
A German play based on a French memoir reflects on the global Left’s abandonment of the working class—and finds additional significance in the Age of Trump.
Films as fast as an eye blink.
Black Nationalism, rural Brooklyn, faces, and monoliths.
Photography versus filmmaking, twenty-somethings, and New Orleans.
Late one night in the summer of 2002 or 2003, I was in Berlin, having just returned after six months in Paris. Friends told me of a woman I just had to meet, a bartender at Barbie Deinhoff’s.
“Photographers and artists are alchemists at the highest level, I think.”
Ritualistic contradictions, moral complexity, and minimalism shed light on issues of inequality in Policeman.
Constraint as liberation, knife-wielding film scholars, and the human brain as total cinema machine.
“I’m somewhere between Bresson, Godard, and the NBA.”