avant-garde
The Velvet Underground wields the hands of time, recapturing and evolving into a time capsule of art within a new wave style of documentary.
Hamilton Sterling’s Absent Now The Dead gives an avant-garde look into the world of the ancient Greeks and the Trojan War.
Buñuel in the Labyrinth of the Turtles offers a peek into the mind of one of the most influential artists of the surrealist movement.
The Entire History of the Louisiana Purchase ventures into nearly every documentary topic imaginable except what the title might imply.
As much as Yang Chao’s film Crosscurrent has the look of a beautiful mystery, its quietness remains quiet and unnoticed and doesn’t manage to lead anywhere.
An interesting, esperimental short film, The Flying Fish explores the more surreal realms of our existence that lights and cameras alone struggle to conjure up alone.
The Giverny Document demands attention, and even if the attention it does receive ends up in the limited availability of a museum, the format cannot be more appropriate.
What is considered Latin American art cinema today? Who defines the accepted hegemonic profiles of the films that receive funding and are shown all over at European film festivals?
In this first report from NYFF, we delve into Jean-Luc Godard’s latest film and an experimental feature from Ming-liang Tsai.
Sensory immersion avant-garde video art grabs the spectator and pulls them into the narrative, they themselves become just as important as the work.
We review three films from the Drunken Film Fest, a festival organized on two continents by two writers from Film Inquiry, Jax Griffin and Arlin Golden.
An Oversimplification of Her Beauty is a solid stroke of inventive creativity and artistic integrity, all buttressed by a profound love and understanding of film.
Andy Warhol is often considered a pioneer of the “anti-film” or cinematic nihilism, though his films themselves leave much to be desired.
Chantal Akerman is a unique director whose minimalist compositions have earned her a reputation as one of cinema’s foremost screen artists. Best known for her 1975 film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, Akerman’s body of non-fiction work stands out with deliberately punctuated documentaries, giving the term “fly on the wall” new meaning. While Akerman’s body of work is varied, her vision of melding reality and fantasy are sometimes indistinguishable, and this omnibus of her work shines a light on an omniscient eye for capturing the world around us.