Film
Musical Realism: Matt Porterfield’s I Used to Be Darker
By Paul FeltenThe best narrative fiction films have at their center the war between two necessary and contradictory impulses: the impulse to observe and the impulse to declaim.
In Conversation
PAWEŁ WOJTASIK, TOBY LEE, AND ERNST KAREL with Chi-hui Yang
Single Stream at the Museum of the Moving Image
An inquiry into ideas of material transformation, time, and waste, Single Stream is a massive work that throws a 50´ × 8´ image onto MoMI’s panoramic lobby canvas.
Change You Can Believe In
Shaka King’s Newlyweeds and Neil Drumming’s Big Words
By Brandon Harris
This is a rough time for dreamers, the late Obama era. Brooklyn is full of them, scuffling along, pretending this is still a city kind to their dying tribe.
Formal Logic
Materials and Methods at the 2013 Festival del film Locarno
By Rachael Rakes and Leo Goldsmith
In recent years, the Festival del film Locarno has distinguished itself among the more prominent international fests by packing its slate with daring work from under-sung filmmakers, spotlighting debut directors, and premiering some of the most strange and interesting work from established ones.
Upside Down Cameras and Other Wonders
Ernie Gehr’s Signal—Germany on the Air and Side/Walk/Shuttle at Light Industry, October 8
By Benjamin Schultz-Figueroa
Ernie Gehr’s Side/Walk/Shuttle (1991) and Signal—Germany on the Air (1985) are unlike any other city symphony films.
