Ostensibly, Joanna Hoggs latest film, Exhibition, is her most architectural to date. Nearly all of the action takes place in a striking modernist home in London, and the focus on the air, the light, and the limits and liberties of the structure are woven into the narrative inextricably.
When thinking about the role of money on the United States political stage, I am reminded of a joke a Hungarian art dealer told me recently: The Pessimist says: Nothing can get worse than this! The Optimist says: Yes it can! Yes it can!
With six decades under its belt, the International Short Film Festival Oberhausen continues to present short form works that subvert and astonish. Nestled in the western corner of Germany, the quiet town of Oberhausen and its neighboring post-industrial cities in the Ruhr valley are referred to as the Detroit of Germany.
Since 2007, Mumbai-based collaborative studio CAMP has been making art out of a variety of media, ranging from cycle rickshaws, wooden ships, state records, web browsers, and basic public works like water and electricity, as well as institutional environments like closed-circuit television (C.C.T.V.) control rooms and archives.
That William Friedkins 1977 film Sorcerer should be re-released in a glistening new 4K digital restoration at Film Forum in some sense betrays the spirit of the film, for few works of American cinema have been so grounded in the well-grubbed materiality of the earth...
If a more serious Jim Jarmusch made a road movie about a nun, a judge, and a musician in 1960s Poland, the result might be close to Pawel Pawlikowskis Ida.