Reverse Shot
@reverse_shot
Reverse Shot is a publication of Museum of the Moving Image @MovingImageNYC, edited by Michael Koresky and Jeff Reichert. Twitter: Koresky
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http://www.reverseshot.com 01-08-2009 02:54:56
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Hiroshi Shimizu Reverse Shot + RogerEbert.com, Oscar Micheaux IndieWire + RogerEbert.com, Jane Schoenbrun (@sapphicspielbrg) 4Columns + Metrograph + The Film Stage 📽, Hélène Louvart BFI, new The Brooklyn Rail …
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'These are films about transients and transience, punctuated by soft dissolves and ellipses; sometimes people fade out of the frame like smoke, or vanish and reappear further away.' Imogen Sara Smith on glorious Hiroshi Shimizu Museum of the Moving Image May 4–19.
reverseshot.org/features/3223/…
Attention, Bonello-heads: in the first of two-late breaking additions to our Reverse Shot Does It Again essay symposium, Ryan Swen/孫天行/Sun Tien-hsing on NOCTURAMA, the challenges of writing about NOCTURAMA, facing critical influence, and staring down failure:
reverseshot.org/symposiums/ent…
Presenting Kelli Weston's latest column about cinema, location, and architecture, This Must Be the Place. On Zora Neale Hurston's fascinating, complicated 1942 document of a Black church in Beaufort, South Carolina: COMMANDMENT KEEPER:
reverseshot.org/features/3219/…
With THE SWEET EAST playing on 35mm Museum of the Moving Image this weekend, revisit 💜💜🎀 ɮɨɢ ɮǟʟʟօօռ ǟɖʋɛռȶʊʀɛ🎀 💜💜's intoxicating chit-chat with K. Austin Collins. reverseshot.org/interviews/ent…
On SASQUATCH SUNSET, its provocative tonal dissonances, and the sasquatch myth's concerns with both colonialism and indigeneity.
Dalida "Zoum Zoum Zom" (1969) HQ Audio! reviews the new Zellner brothers film, opening today:
reverseshot.org/reviews/entry/…
Just reading up on Arthur Jafa's recasting of the ending of Taxi Driver to include Black actors, which I'm looking forward to seeing at Gladstone Gallery. Oddly enough, I wrote about this very thing in a piece for Reverse Shot many moons ago. Such an uncannily troubling film.
Welcoming back Caden Mark Gardner and Willow Catelyn Maclay for a new Body Talk column, centered on the 'anarchic, punk, profane' THE PEOPLE'S JOKER, and how it 'engages with the iconography of IP superhero blockbuster cinema and with the trans film image.'
reverseshot.org/features/3215/…
📢 Big news: 27-film Hiroshi Shimizu retrospective co-organized with Japan Society Film The Japan Foundation, New York and 国立映画アーカイブ coming in May!!
'I wanted to focus on one individual, and use genre to deal with her—and our—fear of love. It seems to me that in the process this portrait of a woman turned into a kind of documentary about an actress.'
Bertrand Bonello talks THE BEAST with Leonardo Goi:
reverseshot.org/interviews/ent…
At RS, we're always keen on keeping up with Robin Campillo, one of our favorite contemporary queer filmmakers. The BPM and EASTERN BOYS director has a new film, RED ISLAND, and we're pleased that frank falisi sat down to talk to him.
reverseshot.org/interviews/ent…
There’s a cut late in THE LAST TEMPTATION OF CHRIST that does more than connect, surprise, or demonstrate: it quakes and shifts the ground below.
If you've seen it, you know it. Eric Hynes on Scorsese’s miraculous film, playing Museum of the Moving Image this weekend.
reverseshot.org/symposiums/ent…
LA CHIMERA, directed by Reverse Shot fave Alice Rohrwacher and starring a wry and rumpled Josh O'Connor, opens today. Adam Nayman is here to unearth its riches:
reverseshot.org/reviews/entry/…
Zhang Mengqi’s SELF-PORTRAIT 47KM 2020 is 'a visual journal of a plague year,' shot in the Chinese filmmaker's hometown village of Diaoyutai. frank falisi reviews the enveloping nonfiction epic, which played at Museum of the Moving Image's #FirstLook2024 .
reverseshot.org/features/3212/…
