One day, a wealthy neighbor learns that Chela has hesitantly resumed driving an old family car and asks for a ride to her weekly bridge game.
Jean-Luc Godard’s latest dispatch on the current state of media and the world is a densely layered montage of films, sounds, and texts in the inscrutable style he has honed since his magnum opus Histoire(s) du cinéma (1988-1998).
Most film festivals are largely alike; Doclisboa—a well regarded non-fiction film festival in Lisbon, Portugal that just held its 16th edition—does things a little differently.
An icon of weaving game theory strategies into the subconscious systems of everyday life, multidisciplinary filmmaker Ericka Beckman recently had two early films screened as restored premieres at Projections at the New York Film Festival: You the Better (1983) and Cinderella (1986).
In his latest documentary, Dead Souls (2018), presented at Anthology Film Archives in three parts from December 14 to 21, Wang Bing addresses the forgotten history of Jiabiangou, one of the most brutal camps, located in the northwestern region of Gansu province.
For its 2018 edition, the Reykjavík International Film Festival presented almost 100 feature films, nearly as many shorts, and enough extra-cinematic activities to make one feel guilty for not spending more time in the dark of the theater.
The movies of Michael M. Bilandic miraculously manage to showcase the joy of being alive and in New York City, of unexpected interactions with random weirdos and haphazard nocturnal journeys to nowhere, alongside the utter despair of being human.