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• A Lineage of Self: Vivek Shraya’s TRISHA

  Trisha is an interesting space in this regard, given that Shraya enacts and cultivates subjectivity in complex ways. There are two immediate and visible subjects of Trisha: Shraya’s mother...

• Lorenza Mazzetti: Free

  Lorenza returned to Italy, but her struggle to make film was only just beginning. The Italian industry didn’t know what to do with her, she told me. Her...

• Machine Language Protocol: Jeremy Shaw’s QUANTIFICATION TRILOGY

  I Can See Forever, the final film in the trilogy, shifts its filmic style into a kind of mid-nineties documentary interview show in the style of Discovery Channel programming....

• Time Record: A Memoir of Teenage Cinephilia by VCR

  I would comb it for films I wanted to see, mostly airing in the middle of the night. “Ah, Ikiru (1952) is on Thursday night. I’ll record that...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Los-Angeles based artist and film director William E. Jones used this 1962 Mansfield footage for his video works Mansfield (2006) and Tearoom (2007). Jones created Mansfield after finding a...

• Serenity, Destruction & Inauthenticity: The Transformation of Alberta in BROKEBACK MOUNTAIN and THE REVENANT

  After another cut, they stand in front of a messy desk, not saying a word to one another. Ennis leans against a wall with hat in right hand,...

• On Collectives, Projects, Film Itself, and a Sausage Factory

  *KR: And, of course, there is no singular answer to the problem of inclusion in our community, but what would you say is the best step that organizations—including film collectives...

• The Instability of Place: Kevin Lee Burton, Paul Wong & Amanda Strong on grunt gallery’s Urban Screen

  In Amanda Strong’s work the idea of place is explored through a six-minute, stop-motion animation titled Ghosts. It’s a story about the plight of the wolf and the caribou that...

• Don’t just sit, don’t just stop

  Bonum [bo-NOOM], meaning “do for good anyways,” is a series of dream sequences between four dancers, choreographed and directed by Sabrina Naz Comanescu, and filmed and edited by Aran...

• Beyond Social Fact in Susan Hiller's PSI GIRLS

  Psi Girls is comprised of five scenes projected side-by-side, each portraying a young girl performing a telekinetic act. She cites iconic moments from The Fury (1978, Brian di Palma), The Craft (1996, Andrew Fleming), Matilda (1997, Danny...