These are three enigmatic, challenging, and weird works of art by filmmakers pushing at the boundaries of the cinematic form.
Thom Andersen approaches pre-existing footage as an increasingly viable option when it comes to affordable experimentation in the digital age.
Benning and Linklater are totally comfortable being filmed, yet there’s not a whit of affect to their roundabout conversational divergences.
The tiny Kino Otok – Isola Cinema Festival makes a very convincing argument for less is more.
As fundamental to The Island of St. Matthews as the landscape may be, the faces reign supreme.
The film is as modest and self-explanatory as its lower-case title suggests.
As unburdened, freely (dis)associative works, it’s barking up the wrong tree to assign meaning to a film by Nathaniel Dorsky.
Mohammad Rasoulof’s Good Bye brings Rossellini’s ’50s to today’s Tehran.
The 60 shorts and features in this year’s Migrating Forms festival are not, in any ordinary sense, train movies.
The dominant impression from this year’s Views from the Avant-Garde is that video artists are still figuring out what to do.
Within Ruhr’s seven stationary shots, Benning tries to capture a whole world.
Happy-Go-Lucky works because the outlines are banal but the performances are phenomenally lived-in.
It’s an experimental film that effaces authorship and demands no mental somersaults.