Moving On

Mar 29, 2022 — About half an hour into love jones, Theodore Witcher’s romance from 1997 starring Larenz Tate and Nia Long, the two main characters amble along a Chicago block as raindrops fall, soft but insistent. The colors are warm, naturalistic—browns, mauves, and...

Mar 28, 2022 — Rosine Mbakam’s documentaries are exercises in reconfiguring relations of power. Her first three nonfiction features are all portraits of Cameroonian women, each of whom is invited to participate in coconstructing a cinematic space of testimony, candor, and expressive autonomy. Filmed...

Mar 25, 2022 — This week’s reads include a survey of this year’s contenders, a look back to the last big sweep, and interviews with Wayne Wang and Valentyn Vasyanovych.

Mar 16, 2022 — The dark shadow of Putin’s war hangs over much of this year’s program.

Mar 9, 2022 — MoMI celebrates ten years of its First Look festival with five selections from previous editions.

Mar 4, 2022 — Freud and Jung make surprise appearances in this week’s roundup.

Feb 28, 2022 — Ulysses Jenkins is an artist of extremes, an innovator who has probed the limits of a wide range of aesthetic modes for over five decades. Though he’s best known for his video art, a medium whose conventions he has been...

Feb 22, 2022 — The fourth feature by the Hong Kong filmmaker Ann Hui devastatingly lays bare the conditions that spurred hundreds of thousands of Vietnamese to flee after the fall of Saigon.

Feb 22, 2022 — In centering the perspectives of refugees, Hong Kong filmmaker Ann Hui created a work of political solidarity that stands in contrast to the dehumanizing cinematic depictions of Vietnam from the period.

Feb 11, 2022 — The week wraps with swift thrills from Steven Soderbergh and Dominik Graf and fresh appreciations of Louis Malle and Julien Duvivier.