Film

In My Mother Laughs, Akerman’s pain while watching her mother’s health worsen becomes entwined with the shock of heartbreak

By Steven Zultanski

From Miss Havisham’s wedding dress to Hans Christian Andersen’s ‘The Red Shoes’, why we’re so obsessed with murderous clothes

By Amber Butchart
Young woman with film camera. Courtesy: Ghetto Film School

New award offers support and platform to 10 artists, whose works will be screened at Frieze Los Angeles 2020

From clitoris avatars to deep fakes, the non-fiction moving image festival presents a novel use of cutting-edge technology    

By Neelam Tailor

‘Movies don’t change, and I do, and I don’t. Memory isn’t a choice and, like everyone, I forget way more than I can recall, necessarily.’

By Lynne Tillman

The Korean director’s win marks a return to the expected, after years of films with mixed critical and populist support taking the top prize

By Charles Bramesco
Tony Conrad performing Bowed Film, 1974. Courtesy: The Institute of Contemporary Art, Philadelphia

With wit and gumption, the late artist broke with institutional proprietaries and pedigree to rethink art’s place in its community

By Shiv Kotecha

The first ENTOPIA release showcases the music of Kuro, a film by experimental pop musician Tujiko Noriko and graphic artist Joji Koyama

By Nathan Geyer
Zacharias Kunuk, Atanarjuat: The Fast Runner, 2001. Courtesy: Viviane Delisle and Isuma Distribution International, Montreal

Ahead of representing Canada at the 58th Venice Biennale, the director discusses his 30-year career making films about Inuit life

By Zacharias Kunuk
Djibril Diop Mambéty, Hyènes (Hyenas), 1992. Courtesy: Metrograph Pictures, New york

At Metrograph, New York, Djibril Diop Mambéty’s newly remastered Hyènes offers a darkly comic metaphor of globalization

By Evan Moffitt

The infamous line ‘It is easier to imagine the end of the world than the end of capitalism’ was made for this film

By Gerry Canavan

The boom in cinema magazines dedicated to print

By Erika Balsom