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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Two more chances to see THE BEAST Museum of the Moving Image this weekend.
movingimage.org/event/the-beas…
Read Leonardo Goi's interview with Bertrand Bonello:
reverseshot.org/interviews/ent…
Really looking forward to sharing this marvelous selection of movies and the terrific conversation I had with my friend and colleague, the estimable Dennis Lim (Dennis Lim)!
What a delight to help program this summer's SEE IT BIG AT THE '90s MULTIPLEX Museum of the Moving Image, many personal all-time faves & many on 35mm. (Narrowing it down was pleasurably impossible.)
movingimage.org/series/see-it-…
In a new interview, legendary cinematographer Frederick Elmes sits down with Nicolas Rapold to revisit his career, looking at unforgettable images from films by David Lynch and John Cassavetes, and recalling how he helped to create them.
reverseshot.org/interviews/ent…
Feel the GLOW in this delightful new interview with Jane Schoenbrun by the morally corrupt juan barquin:
'The whole movie sort of feels like a meditation on our memories of suburbia, our memories of TV shows about suburbia, and the way that lives on in a dream space.'
reverseshot.org/interviews/ent…
Horace Ové's PRESSURE opens this week from
Janus Films in a new 4K restoration. Writes
Nicholas Russell, 'It's a 'digressive, musically driven bildungsroman told through a series of vignettes that glimpse slivers of contemporary West Indian British life.'
reverseshot.org/reviews/entry/…
'Once comforting linchpins in a nationwide mediascape, TV game shows are now vestigial remnants of a skeletonized monoculture.'
Pleased to present an essay by Max Carpenter on the cinematic hinterlands of the American game show: reverseshot.org/series/entry/3…
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 …
Did You See This? criterion.com/current/posts/…
'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/…
