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Fox Maxy’s Gush and Maat

This 71-minute, free-associative collage analyzes the effects of mental health, social media, and sharing oneself with the world. Its mind-boggling structure makes Gush’s time-traveling spectacle mundane and, instead, opens up conversations about how we function and perceive information, leaving little room for blanket statements.

Daniel Antebi’s God’s Time

It can feel risky, as a director, to put a well-thought-out scenario at the mercy of New York streets, but, as indies like Daniel Antebi’s God’s Time (2022) go to show, the loss of control also breeds high rewards, capturing spectacles inherent to the city itself.

In Conversation

Cauleen Smith with akané okoshi

Shot on 16mm by interdisciplinary artist and filmmaker Cauleen Smith, Drylongso (1998) is a tender yet unflinching dispatch from 1990s Oakland.

Dziga Vertov and the Kino-Eye

In Kino Eye (1924), the first of his two masterpieces, Dziga Vertov staged a resurrection, turning a bull carcass hooked in a city slaughter house into a living bull, happily grazing in a field. “Kino Eye moves time backwards,” the title card reads just before the miracle.


The Brooklyn Rail

APRIL 2023

All Issues