Gilded in the Palme dOr, and spittle-flecked by word of mouth, Uncle Boonmee Who Can Recall His Past Lives arrives in New York to colossal expectations. Thai filmmaker Apichatpong Weerasethakuls latest feature, his sixth, is more than capable of meeting them.
For over 30 years, J. Hobermans writing has been a fixture of New York film criticism.
As big as International Film Festival Rotterdam (IFFR) has become in the last four decades, it has maintained an air of egalitarianism apparent in the festivals flouting of the red carpet tradition, and a deep dedication to innovation and breadth in its support of outlying cineastes.
For the last decade, the Museum of Modern Art has presented an annual sampling of international non-fiction films and media works that probe the interstices of cinema and contemporary art. Continuing in this mode, this years Documentary Fortnight presents a selection of entries from 14 different countries, with an emphasis on Latin America and China.
On Saturday, March 26, at UnionDocs in Williamsburg, critic and scholar Fred Camper will present a program of films that play with the idea of documentary production, method, and meaning