Archive

The 1983 French television interview with actor Maria Schneider has lost little of its relevance in the intervening 40 years. In these reenactments of the interview, everything appears to be the same—but is it?

Carlos Gómez Salamanca tells an intensely personal drama, a complete life trajectory, reflecting on a turbulent societal condition.

Jean-Sébastien Chauvin’s city symphony generates affect before analytics, allowing it to continuously play with expectations and observations as it progresses.

Théo Jollets Meet Doug is a mesmeric overload that is quietly stunning.

This devious domestic animated drama from the acclaimed Špela Čadež seems enthusiastically committed to realist cinema.

The past is inescapable for the protagonists in Marie Larrivé’s Noir-Soleil, in which the filmmaker wants us to pay close attention to “unmoments”—seemingly unimportant short occurrences where the characters stare into space or an animal moves between the bushes.

Focusing on a boy who finds dark spots covering his arms, Sarina Nihei’s narrative expands into a vast conspiracy.

Instead of offering anything as a straight factual counterpoint, the musical performances in One Hundred Steps themselves demand reconsideration.

In her kaleidoscopic experimental film, Yuyan Wang both eulogises and critiques a society which is drowning in an overload of information.

Ismaël Joffroy Chandoutis’ Maalbeek—part collage film, part experimental video art—challenges the documentary genre.

In Symbiosis, Hungarian animator Nadja Andrasev tells the story of a deceived wife who starts a bizarre investigation of her husband’s infidelities.