Today Museum of the Moving Image Book signing: CORPSES, FOOLS AND MONSTERS Alain Berliner’s MA VIE EN ROSE (1997) Robert Altman’s COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN (1982) Isabel Sandoval’s LINGUA FRANCA (2019) movingimage.org/series/from-th…

In advance of Museum of the Moving Image's annual celebration of 70mm cinema, starting Thursday, we revisit 💜💜🎀 ȶɦɛ ȶɦɨռӄɛʀ🎀 💜💜's in-depth 2015 essay on the history of the format: reverseshot.org/features/2078/…

Thrilled to launch a new column by Shonni Enelow on contemporary screen acting, attempting to discern a new or newly resonant style of performance. First up, an analysis of Anna Cobb's Casey in Jane Schoenbrun's WE'RE ALL GOING TO THE WORLD'S FAIR. reverseshot.org/features/3237/…

Ti West's horror trilogy has mercifully come to an end. Greg Cwik finishes his RS coverage of the films by writing on the diminishing returns of MaXXXine. reverseshot.org/reviews/entry/…

For Reverse Shot, Imogen Sara Smith wrote about the use of space in Jacques Tati's PLAYTIME: "[H]e constructed a whole neighborhood on the outskirts of Paris, known as Tativille. These massive sets are not a backdrop for the comedy; they are the comedy." reverseshot.org/symposiums/ent…

"The narrative framing echoes that of LAKE MUNGO and other mockumentaries, the events having already taken place, the yarn unspooled by an unseen director and editor." Nicholas Russell's latest Unearthed column—on 2010's INTERNET STORY: reverseshot.org/series/entry/3…

GOOD ONE, the debut feature of writer-director India Donaldson, pivots on a young woman’s realization that it is sometimes wisest to keep those we love at an arm’s length. Matthew Eng reviews this terrific, cutting movie, opening this week. reverseshot.org/reviews/entry/…

Gavin Smith tries to make sense of WAR GAME, a film that predicts another insurrection by documenting a six-hour real-time role-play session succinctly described as “coup prevention 101.” reverseshot.org/reviews/entry/…

On the effectiveness and the shortcomings of the new documentary DAUGHTERS, opening today. Review by Eileen G'Sell: reverseshot.org/reviews/entry/…

Back at it again writing about one of my favorite filmmakers, M. Night Shyamalan, and his latest feature Trap: a Hitchcockian gem that, unfortunately, falls into a tiresome pattern in the last act. reverseshot.org/reviews/entry/…

Amazing: Eric Hynes writes that Gena Rowlands in A WOMAN UNDER THE INFLUENCE gave "the most fully human screen performance since the advent of sound," and it doesn't seem like hyperbole. His essay on the shock of seeing this essential artwork: reverseshot.org/symposiums/ent…

Dream assignment.

Now up Reverse Shot: my interview with Jonathan Rosenbaum, conducted over this meal and these margaritas. He had a lot to say. reverseshot.org/interviews/ent…

BPM fans take note: director Robin Campillo has a new film, RED ISLAND, opening today Film at Lincoln Center. Critic frank falisi spoke with Campillo for RS about the film, about a young white boy living on a French military base in Madagascar circa 1970. reverseshot.org/interviews/ent…

We’re pleased to announce the 24-film screening series Personal Belongings: First-Person Documentary in the 1990s, programmed by Asha Phelps and Jeff Reichert, Sep 20–29 with many special guests! See the lineup: bit.ly/personal90s

A movie about growing old and the power of memory, with cinema as its central metaphor, Víctor Erice's CLOSE YOUR EYES opens today. David Schwartz reviews: reverseshot.org/reviews/entry/…

Woo-hoo, congrats, Kelli! Check out some of her terrific, eclectic writing at RS: reverseshot.org/people/200/kel…

Rediscovered and restored, the gorgeously shot 1974 Iranian film THE STRANGER AND THE FOG, directed by Bahrām Beyzaie, stylistically evokes Parajanov and Kurosawa. New review by Sarah Fensom: reverseshot.org/reviews/entry/…

Often dismissed as stuffy costume dramas, James Ivory's work with his late partner Ismail Merchant were often complex, sometimes courageous portraits of desire & people stunted by social and political mores. frank falisi talks to the 96-year-old director: reverseshot.org/interviews/ent…

On the release of MY FIRST FILM, the morally corrupt juan barquin talks to Zia Anger about a movie "with a deep affection for the craft of filmmaking and the fools who have dedicated their lives to it." reverseshot.org/interviews/ent…