CLOSE, Lukas Dhont’s deeply felt new feature, portrays the fraught passage from childhood to adolescence—from an age of blind trust to one of knowledge and suspicion—as lived by best friends Léo and Rémi. Fresh from a summer spent investigating the

This weekend, to mark the fortieth anniversary of Kathleen Collins’ LOSING GROUND—one of the first feature-length motion pictures directed by a Black American woman—the Academy Museum, the California African American Museum, and USC’s Visions and Voices program presents a screening

For filmmaker and radio programmer Jérôme Florenville, the “fringe” is the center and the alternative his home. His latest documentary—TO WHOEVER WANTS TO LISTEN / A QUI VEUT BIEN L’ENTENDRE, filmed on a discrete set—presents the communities of Noise and

NO BEARS—written, directed, and produced by Jafar Panahi, the great image smuggler of contemporary cinema—is an astonishing examination of narrative responsibility and the consequences of visual depiction. Set in a rural Iranian border town, Panahi is directing—remotely, via computer—a film

Join Rebecca Morris and ICA LA’s Asuka Hisa for a personal tour of the exhibition REBECCA MORRIS — 2001–2022. A reception with light refreshments and bites will follow the closing-weekend walkthrough.

At Lafayette Anticipations, to mark the last days of Cyprien Gaillard’s bifurcated exhibition HUMPTY / DUMPTY—also at Palais de Tokyo—theorist Jack Halberstam will present a talk on the aesthetic of collapse and the politics of deconstruction. And to close out

Ring out the year with a rare screening of GOODBYE TO LANGUAGE / ADIEU AU LANGAGE, presented by the Academy Museum during the closing days of its “3D-cember!” program. Jean-Luc Godard’s penultimate feature and his only full-length work in 3D,

WOMEN TALKING—Sarah Polley's remarkable new feature—is set among the women and children of a Mennonite community in the immediate aftermath of a series of sexual assaults and violations against them. The victims—even a child was raped—wake from a drugged sleep

In her essay “A Century of Cinema,” Susan Sontag addresses a second Golden Age of film which began in the mid-1950s and lasted nearly two decades, when “vanguard ideas took hold again”—mostly in Europe and Asia—and “a dazzling number of

The Academy Museum program “Present Past: A Celebration of Film Preservation” covers the waterfront with a wide selection of narrative features, shorts, documentaries, and experimental films. From cult classics to the overlooked and forgotten—and each a local, North American, or