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Since its inception in the 1970s, the Millennium Film Journal has documented the multiple transformations of the cinematic in the hands of artists, giving a voice to a community that tended toward marginality.

13/10/2025

🔬Here is ‘s moving image 💦🔘🪾

📹 Test Image, K M Bosy (2025). Courtesy the artist. ⁠

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“Building on her use of found objects in other parts of her practice, Siopis’ films make use of archival footage to tell...
04/10/2025

“Building on her use of found objects in other parts of her practice, Siopis’ films make use of archival footage to tell involved stories of history. This process of collecting and recontextualizing objects is an integral part of the exhibition. One cannot help but engage with the physicality of the films themselves—imagining Siopis combing through flea markets, charity shops, and family archives, gathering objects imbued with personal and cultural histories in order to construct her own."⁠
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— MFJ Contributing Editor Camila Galaz visits the first major museum retrospective of Penny Siopis’s work in Europe, held at the National Museum of Contemporary Art⁠ (ΕΜΣΤ), Athens, in our current issue MFJ81⁠ available now.⁠
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📸: Penny Siopis, The New Parthenon (2016). Single-channel digital⁠
video, sound. Duration 15 min 26 sec. Courtesy the artist and ΕΜΣΤ.

“Set in a world fifty-four years ahead of the film’s 2017 release, where ecosystems have collapsed, and civilization mee...
01/10/2025

“Set in a world fifty-four years ahead of the film’s 2017 release, where ecosystems have collapsed, and civilization meets its end by way of nuclear war, The Island is a premonition.“Can the future save the past?” It demands consideration and admittedly, it’s continued to echo through my mind...The Island urges viewers to consider their responsibility to the future. Can we use the past to change the present course, or are we too detached to care?"⁠
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— C.M. Watts considers Tuấn Andrew Nguyễn’s short film, The Island (2017) at the Smithsonian American Art Museum in our current issue MFJ81⁠ available now.⁠
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📸: Tuấn Andrew Nguyễn, The Island (2017), frame enlargement (cropped). Courtesy the artist

“What emerges from Vicente’s study is a modest but complex figure who developed his approach through a commitment to a n...
27/09/2025

“What emerges from Vicente’s study is a modest but complex figure who developed his approach through a commitment to a non-didactic social realism. This was informed by a fundamentally socialistic commitment to the study of working life, the selfdetermination of working-class communities, but also a growing awareness of the ethical considerations that arise when representing working-class subjects."⁠
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— Steven Ball reviews the book "Darcy Lange, Videography as Social Practice" by Mercedes Vicente and published by Palgrave Macmillan (2024) in our current issue MFJ81⁠ available now.⁠
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📸: Courtesy Mercedes Vicente and Palgrave Macmillan.

“Derrida reveals the intrinsic character of art that emerges through continuously evolving technologies, a process from ...
24/09/2025

“Derrida reveals the intrinsic character of art that emerges through continuously evolving technologies, a process from which Hill’s artistic practice arises. Despite its seeming lack of explicit meaning, this newness, a necessary attribute of all art, is most effectively displayed through ideas that are still to come."⁠
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— Andrzej Jachimczyk continues his conversation with Gary Hill, begun in MFJ80, in our current issue MFJ81⁠ available now.⁠
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📸: Gary Hill, Soundings, 1979. Still (cropped). Video (color, sound); 18:03 min. Courtesy the artist.

“How to look at it? It appears inviolable. Every layer is distinct, a stream of movie extracts piled one on another, a m...
20/09/2025

“How to look at it? It appears inviolable. Every layer is distinct, a stream of movie extracts piled one on another, a multitiered rectangular rainbow cake. Despite being distracted by the controlled framing and lighting, fluid camera moves, deliberate compositions and actor choreography—that is, film clips pulled from hundreds of mainstream Hollywood-style"⁠
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— MFJ Senior Editor Grahame Weinbren considers the layered works of Christian Marclay in our current issue MFJ81⁠ available now.⁠
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📸: Christian Marclay, 48 War Movies (2019), Single-channel video installation, color and stereo sound, Continuous loop, Dimensions variable. Installation view: Christian Marclay, Paula Cooper Gallery, 524 W 26th Street, New York, September 12 – October 19, 2019. © Christian Marclay. Courtesy Paula Cooper Gallery, New York. Photo: Steven Probert.

“Though the book’s main undertaking is in the field of film theory, its handle on the material specificities that charac...
17/09/2025

“Though the book’s main undertaking is in the field of film theory, its handle on the material specificities that characterize film will inform debates in aesthetics and humanistic study. What would the landscape of art criticism look like when a truly materialist framework determines what’s worthy of attention? What is to follow from this anarchic move against established canons of categorisation and criticism?"⁠
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— Yi Chen reviews the book "Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up" by Jiří Anger ⁠and published by Bloomsbury Publishing (2024) in our current issue MFJ81⁠ available now.⁠
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📸: Courtesy Bloomsbury Academic (US).

“Somewhere between documentary, land art, and spiritual travelog, the film documents the making of his sister’s gravemar...
13/09/2025

“Somewhere between documentary, land art, and spiritual travelog, the film documents the making of his sister’s gravemarker and subsequent burial at an undisclosed location off the California Coast. Infused with her ashes, and marked simply C-O-R-A-L, this simple, circular disk, akin to a film canister, is yet another reproduction which stems from the family unit but which also renegotiates those dynamics as Town moves from filial apprentice to fraternal steward."⁠
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— Matthew Lax reviews Matt Town’s exhibition "Coral" at Microscope Gallery in our current issue MFJ81⁠ available now.⁠
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📸: Matt Town, Coral (2024), 16mm film, 11 minutes, installation view.⁠
Courtesy of the artist and Microscope Gallery.

“Janetzko...combines aesthetic meditation with a documentary quality and opens up a cinematic space for reflection—one t...
10/09/2025

“Janetzko...combines aesthetic meditation with a documentary quality and opens up a cinematic space for reflection—one that extends beyond immediate perception to consider global challenges."⁠
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— Ulrich Stein writes on Christoph Janetzko's "WALD the forest" in our current issue MFJ81⁠ available now.⁠
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📸: Christoph Janetzko, WALD the forest (2023), frame enlargement (cropped) Courtesy the artist.

“Beyond constructing and cognizing moving-images, or using screen recorded videos of computer desktops as perfect metaph...
06/09/2025

“Beyond constructing and cognizing moving-images, or using screen recorded videos of computer desktops as perfect metaphors for modern intellectual life, Eliassen’s Talking Back asks us to step beyond a virtual threshold connecting lived social experiences with virtual spaces, visual representations, and ways of organizing certain images."⁠
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— Irmgard Emmelhainz reviews Sara Eliassen’s "Images [and Talking Back to Them]" in the article Navigating Uncertainty in our current issue MFJ81⁠ available now.⁠
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📸: Sara Eliassen, Images (and speaking back to them) (2015-2023). Installation view at the Museo de Arte Alameda, Mexico City (October 2023-February 2024). Courtesy the artist.

“The film is intimate, certainly, with all the comforts of an afternoon indoors, while Hirsch’s other works (those which...
03/09/2025

“The film is intimate, certainly, with all the comforts of an afternoon indoors, while Hirsch’s other works (those which appeared in the two shows) are extraverted, dreamy, her camera panning anything that strikes her, or which is beautiful: sun-drenched beaches, a mare’s white eyelashes."⁠
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— MFJ Contributing Editor Nicholas Gamso contemplates the work of Narcisa Hirsch in our current issue MFJ81⁠
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📸: Narcisa Hirsch, Taller (Workshop) (1974), 16mm film to digital, color, sound, 10 minutes. Edition of 5 + 2 APs. Courtesy Microscope Gallery. Copyright the artist’s estate.

“Unlike typical alternative film events which make a space for filmmakers rejected from the major festivals (as with Sla...
30/08/2025

“Unlike typical alternative film events which make a space for filmmakers rejected from the major festivals (as with Slamdance at Sundance Film Festival), material politics was the core of the NYCFF."⁠
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— Our current issue MFJ81 includes a Letter from
the New York Counter Film Festival: Making Space for Communal Solidarity⁠, by Ali Jaffery⁠
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📸: Basma al-Sharif, Deep Sleep (2014). Video Still (cropped). Courtesy of the artist and Imane Farès, Paris.

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MFJ No. 68

This issue includes reviews of recent exhibitions, festivals and screenings, articles on the Berlin Biennale and filmmaker Ivan Ladislav Galeta, artist pages by Rose Lowder, and a visit to Dustin Grella’s studio in the South Bronx. Our launch screening is at Anthology Film Archives on November 14th at 7:30. Copies of the issue can be purchased at mfj-online.org