Marginal Geographies: Independent Masterworks from China

Historically Unprecedented Growth Over the course of a single year, China, by its own measure, lifted nearly 40 million people out of poverty. In 2013 alone, China’s share of the world’s extreme poor fell an astonishing 5 percentage points, from 13 to 8 percent. Between 2008 and 2011, China and India (which continues to be much… Learn More

Dispatches from the 2016 Toronto International Film Festival: Yourself and Yours, Daguerrotype, Sieranevada & Paterson + Festival Favorites

One of the greatest pleasures of the major international film festival is the opportunity to see the latest work by leading international auteurs. In the case of South Korean director Hong Sang-soo, whose masterful previous feature Right Now, Wrong Then (2015) played at the Museum earlier this month, there has been at least one “latest” film every year since 2008, and… Learn More

Dispatches from the 2016 Toronto International Film Festival: Elle, (re)ASSIGNMENT, The Birth of a Nation & The Ornithologist

French cinema is especially well represented among this year’s better world premieres, with Bertrand Bonello’s Nocturama, Mia Hansen-Løve’s Things to Come, Eugène Green’s Son of Joseph, and Kiyoshi Kurosawa’s Daguerrotype all fine new films by their well-established directors–and in the case of the first two, new career bests as well. Joining both lists is Paul Verhoeven’s enticingly provocative Elle (2016), which received its North American premiere… Learn More

Dispatches from the 2016 Toronto International Film Festival: Toni Erdmann, Nocturama & The Woman Who Left

As unambitious as it may sound, I really only had one hope for this year’s Toronto International Film Festival: see writer-director Maren Ade’s Toni Erdmann (2016). As simple a task as this might sound–especially for a festival featuring Oscar hopefuls La La Land and Manchester By the Sea, among many others–I was facing an arrival time after the Press & Industry screening, and had… Learn More

Museum Films Presents: Right Now, Wrong Then & Little Men

Seventeen features into a filmmaking career that began in 1996, Korean master-director Hong Sang-soo has not only created his own distinct genre that exists completely apart from any other. He has also committed himself to working exclusively in that genre, employing the same semantics (narrative tropes) and syntax (how the story elements are assembled) in film… Learn More

Her Man (1930) & the August-September Museum Films Program

Before I introduce the next two months of Museum Films programming at OKCMOA, let me first offer a few enthusiastic words for Tay Garnett’s Her Man (1930), which screened in newly restored 4K last night in the Noble Theater. Produced in the very early years of sound synchronization, at a time when the expressive camerawork of silent film’s… Learn More

Lovely Things That Don’t Endure: On Terence Davies's Sunset Song (2015)

Among a certain set of obsessive film-goers–for whom movies are always an art, above all–there seems to be a gathering consensus that Terence Davies is Britain’s greatest living filmmaker. Of course, there were some who were ready to make the claim on the basis of his first two features, the masterpieces Distant Voices, Still Lives (1988) and The Long Day… Learn More

Excavating the Unconscious: On Apichatpong's Cemetery of Splendor

Set in the Isan region of northeastern Thailand–the childhood home to one of the world cinema’s greatest living directors, Apichatpong Weerasethakul–Cemetery of Splendor (2015) centers on a temporary rural hospital that houses soldiers with a mysterious sleeping illness. Among those who pass in and out of this makeshift space are a medium who contacts the spirits of murder… Learn More