{"id":8316,"date":"2022-02-09T15:52:10","date_gmt":"2022-02-09T20:52:10","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=8316"},"modified":"2022-02-09T16:39:37","modified_gmt":"2022-02-09T21:39:37","slug":"momis-first-look-returns-mar-16-20-opens-with-antoneta-alamat-kusijanovics-camera-dor-winner-murina","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=8316","title":{"rendered":"MoMI’s First Look Returns Mar. 16-20, Opens with Antoneta Alamat Kusijanovi\u0107\u2019s Cam\u00e9ra d\u2019Or Winner, “MURINA”"},"content":{"rendered":"

\u00a0<\/span><\/b>FIRST LOOK 2022, MUSEUM OF THE MOVING IMAGE\u2019S FESTIVAL OF NEW AND INNOVATIVE INTERNATIONAL CINEMA, TAKES PLACE IN PERSON OVER FIVE DAYS\u00a0<\/span><\/b><\/p>\n

March 16\u2013March 20, 2022\u00a0<\/span><\/b><\/p>\n

\"\"<\/p>\n

Astoria, New York, February 7, 2022 <\/b>\u2014 Museum of the
\nMoving Image is pleased to announce the complete lineup for
\nthe 11th edition of First Look, the Museum\u2019s festival of new and
\ninnovative international cinema, which will take place in person
\nMarch 16\u201320, 2022. The Festival introduces New York
\naudiences to formally inventive works that seek to redefine the
\nart form while engaging in a wide range of subjects and styles.
\nThe 2022 lineup includes both nonfiction and fiction, features
\nand shorts, as well as forms that fall outside the boundaries of
\ntraditional theatrical distribution, from gallery presentations to
\nlive performances to artist talks. This year, the festival will premiere 38 works, including 18 features representing more than 30 countries. Artists will appear both in person and remotely.\u00a0<\/span><\/p>\n

Opening Night, on Wednesday, March 16, presents the New York City premiere of Antoneta Alamat Kusijanovic\u0301\u2019s Murina<\/i><\/b>, a simmering, sexually charged coming-of-age tale set in scenic coastal Croatia that won the Cam\u00e9ra d\u2019Or (Best First Feature) at the 2021 Cannes Film Festival and was executive produced by Martin Scorsese, preceded by the New York premiere of Tsai Ming-liang\u2019s sorrowful ode to Hong Kong, The Night<\/i><\/b>. The Closing Night selection, on Sunday, March 20, is the New York premiere of Pawel Lozinski\u2019s delightful and insightful documentary The Balcony Movie<\/i><\/b>. <\/i>Recipient of the Grand Prix at the 2021 Locarno Film Festival\u2019s Critics Week (Semaine de la critique), the film was shot entirely from the balcony of Lozinski\u2019s Warsaw apartment, which proves to be a uniquely advantageous perch for encountering the struggles and moods of the times.\u00a0<\/span><\/p>\n

This year\u2019s festival showcases the New York premiere of Julie Lecoustre and Emmanuel Marre\u2019s Zero Fucks Given<\/i><\/b>, an exhilarating portrait of contemporary malaise starring Ad\u00e8le Exarchopoulos (Blue Is the Warmest Color<\/i>) as a flight attendant in crisis, the U.S. premiere of celebrated Russian film and theater director Kirill Serebrennikov\u2019s hallucinatory tour de force Petrov\u2019s Flu<\/i><\/b>, and celebrates the return to First Look of Ukrainian master Sergei Loznitza (whose Donbass <\/i>opened First Look 2019) with his two latest features, Babi Yar. Context <\/i><\/b>(Special Jury Prize of the Cannes L’\u0152il d’or for best documentary), a meticulous record of a horrific event during the Holocaust; and the definitive Lithuanian liberation history Mr. Landsbergis <\/i><\/b>(IDFA Award for Best Film). Also from Ukraine is Reflection, <\/i><\/b>a haunting new work by rising star Valentyn Vasyanovych (Atlantis<\/i>), who will be the subject of a MoMI retrospective immediately following First Look (March 25\u201327). Additional highlights include the North American premiere of famed Chinese contemporary artist Qiu Jiongjiong\u2019s splendid A New Old Play <\/i><\/b>(Special Jury Prize at Locarno 2021) and the East Coast premiere of Indonesian auteur Edwin\u2019s rambunctious Locarno Golden Leopard recipient Vengeance\u00a0<\/span><\/i><\/b><\/p>\n

Museum of the Moving Image 36-01 35 Ave, Astoria, NY, 11106 www.movingimage.us\u00a0<\/span><\/b><\/p>\n

Is Mine, All Others Pay Cash <\/i><\/b>(presented by MoMI\u2019s ongoing Disreputable Cinema series); extraordinary Cannes-awarded features from emerging filmmakers, which in addition to Murina <\/i>includes the U.S. premiere of Omar El Zohairy\u2019s surreal comic vision Feathers <\/i><\/b>(recipient of the Grand Prix at Cannes\u2019 Critics Week); new shorts from major figures in international cinema, including The Night <\/i>and Radu Jude\u2019s Semiotic Plastic<\/i><\/b>; plus the world premieres of Nathaniel Dorsky\u2019s William <\/i><\/b>and Laura Harrison\u2019s The Limits of Vision<\/i><\/b>, and the North American premiere of Philipp Fleischmann\u2019s Untitled (34bsp)<\/i><\/b>, which are part of a special First Look edition of MoMI\u2019s recurring experimental showcase Persistent Visions.\u00a0<\/span><\/p>\n

Moving outside the traditional cinema space, two works by First Look alums will be presented in the Museum\u2019s galleries: Deniz Tortum and Kathryn Hamilton\u2019s Our Ark <\/i><\/b>in the Video Screening Amphitheater and Charlie Shackleton\u2019s As Mine Exactly<\/i><\/b>, a live virtual reality experience.\u00a0<\/span><\/p>\n

Running concurrently with First Look, Working on It offers a laboratory for works in progress and dialogues about process, bringing together festival guests, filmmakers, students, writers, and the general public. Past participants have included Ra\u2019anan Alexandrowicz, Robert Greene, Maya Daisy Hawke, and Reverse Shot editors and writers. Working on It runs March 16\u201318; schedule will be announced soon.\u00a0<\/span><\/p>\n

\u201cNow in its 11th year, First Look has evolved into an event reflective of both the current state of the cinematic arts and MoMI\u2019s curatorial character and curiosity,\u201d said Eric Hynes, Curator of Film. \u201cWe\u2019re attracted to a wide spectrum of work, from a diversity of makers, and are ever in search of new ways of seeing and expressing. The films and projects in the festival are indeed new to New York, but First Look also signifies an open, activated way of approaching the moving image. Crucial to this is our showcasing both finished and unfinished work\u2014the latter via our daytime Working on It sessions\u2014offering artists and audiences an enticing space in which to encounter one another.\u201d\u00a0<\/span><\/p>\n

First Look 2022 was programmed by Eric Hynes, Curator of Film, and Edo Choi, Assistant Curator of Film; Becca Keating, Director of Development and curator of Persistent Visions; Sonia Epstein, Associate Curator of Science and Film; and Jesse Berberich, programmer of Disreputable Cinema.\u00a0<\/span><\/i><\/p>\n

The programming team would like to acknowledge the following people for their guidance, support, advocacy, and generosity: Michael Andrianaly, Chris Boeckmann, Caitlin Mae Burke, Phil Coldiron, Joost Daamen, Dominic Davis, Kristin Feeley, Robert Greene, Mary Lee Grisanti, Dorota Lech, Mads Mikkelsen, Dan Nuxoll, Janet Pierson, Alla Rachkov, Michael Sicinski, Tomek Smolarski, Abby Sun, Laura Van Halsema, Stacey Woelfel.\u00a0<\/span><\/p>\n

Tickets & Passes will go on sale February 10: movingimage.us\/series\/first-look-2022\/<\/b><\/a><\/p>\n

Unless otherwise noted, tickets for individual screening programs are $15 ($11 seniors and students \/ $9 youth \/ free for MoMI members starting at the Senior & Student levels ($7 Classic members). Tickets for Opening and Closing Night are $20 ($15 for MoMI Members). An All-Festival Pass <\/b>(including Opening and Closing night, and Working on It) will be available.\u00a0<\/span><\/p>\n

Sponsors: First Look is made possible with support from the BFA Film Department, School of Visual\u00a0<\/span><\/p>\n

Arts; Kickstarter; The Jonathan B. Murray Center for Documentary Journalism at the Missouri School of Journalism; The Harriman Institute at Columbia University; The Paper Factory Hotel; and the Alfred P. Sloan Foundation. Additional support was provided by the New York State Council on the Arts and the New York City Department of Cultural Affairs.\u00a0<\/span><\/p>\n

First Look 2022 films are:\u00a0<\/span><\/b><\/p>\n

OPENING NIGHT\u00a0<\/span><\/strong><\/p>\n

\"\"<\/p>\n

Murina\u00a0<\/span><\/i><\/b><\/p>\n

New York City premiere
\nDir. Antoneta Alamat Kusijanovic\u0301. Croatia\/Brazil\/United States\/Slovenia. 2021, 92 mins. Winner of the Camera d\u2019Or (Best First Feature) at the 2021 Cannes Film Festival, Murina <\/i>is a serrated-edge, sexually charged coming-of-age tale set in scenic coastal Croatia. Amidst clashes with her oppressive father and impassive mother, restless Julija seeks liberation from their isolated existence when a visit from an old family friend foments overlapping waves of greed, jealousy, desire, and rage. Executive produced by Martin Scorsese, the film features gorgeous camerawork by H\u00e9l\u00e8ne Louvart (The Lost Daughter<\/i>, Happy as Lazzaro<\/i>).
\nPreceded by:<\/p>\n

The Night
\n<\/i><\/b>New York premiere
\nTsai Ming-liang. Taiwan, Hong Kong. 2021, 19 mins. No dialogue. DCP. Recorded in November 2019 at the height of mass protests against Hong Kong\u2019s Anti-Extradition Law, Tsai\u2019s plaintive durational portrait of emptying streets and an overpass on Causeway Bay builds almost imperceptibly to its exquisite pang of sorrowful longing.\u00a0<\/span><\/p>\n

CLOSING NIGHT\u00a0<\/span><\/strong><\/p>\n

\"\"<\/p>\n

The Balcony Movie\u00a0<\/span><\/i><\/b><\/p>\n

New York premiere
\nDir. Pawel Lozinski. 2021, Poland. 100 mins. In Polish with English subtitles. DCP. Filmed before the pandemic yet prescient about our collective craving for connection in isolation, First Look veteran Pawel Lozinski (You Have No Idea How Much I Love You<\/i>, 2018) returns with a quietly revelatory documentary shot entirely from his balcony in Warsaw. Elevated from the street and armed with just his camera and boom mic, Lozinski engages strangers and friends, old couples and young mothers, commuting workers and ex-convicts, in philosophical queries that evolve, over many months, into confessions, course corrections, and complicated relations, offering a cumulative portrait of the struggles and moods of the times while exemplifying the humanist curiosity and formalist rigor of the unseen director behind the camera.\u00a0<\/span><\/p>\n

SHOWCASE SCREENING\u00a0<\/span><\/p>\n

Zero Fucks Given <\/i>(Rien \u00e0 foutre<\/i>)
\n<\/b>New York premiere
\nDirs. Julie Lecoustre, Emmanuel Marre. France\/Belgium. 2021, 112 mins. In French with English subtitles. DCP. Toeing a fine line between documentary portraiture and archly pop fiction that evokes sixties Godard, Lecoustre and Marre\u2019s boldly conceived, thrillingly singular debut renders the disconnected existence of Cassandre (Ad\u00e8le Exarchopoulos, perfect), a seemingly carefree flight attendant for a budget airline, with the flat primary color tones and melancholic detachment of Hopper paintings. Starting as a sharply deadpan, basement-level study of the global service economy, the film gradually blossoms into a devastating depiction of personal loss amid the profound social and spiritual deficits of our age.\u00a0<\/span><\/p>\n

SHOWCASE SCREENING\u00a0<\/span><\/p>\n

Petrov\u2019s Flu\u00a0<\/span><\/i><\/b><\/p>\n

United States premiere
\nDir. Kirill Serebrennikov. Russia. 2021, 145 mins. In Russian with English subtitles. DCP. Russian cause celebr\u00e9 Kirill Serebrennikov\u2019s third feature is a hallucinatory, surrealistic adaptation of Alexey Salnikov\u2019s novel The Petrovs in and Around the Flu<\/i>, in which a young husband, wife, and child feverishly careen through the day, the past, and the dreams and nightmares of a city on the edge. A Strand release.\u00a0<\/span><\/p>\n

SHOWCASE SCREENING\u00a0<\/span><\/p>\n

Mr. Landsbergis\u00a0<\/span><\/i><\/b><\/p>\n

New York premiere
\nDir. Sergei Loznitsa. Lithuania\/Netherlands\/Ukraine. 2021, 246 mins. In Lithuanian and Russian with English subtitles. DCP. The latest documentary from the indefatigable Loznitsa is a masterwork of archival storytelling, grippingly and exhaustively detailing the Lithuanian fight for nationhood during the crucial years of 1989\u20131991, threaded together by interviews with the first Head of the Lithuanian Parliament, the now 89-year-old Vytautas Landsbergis.\u00a0<\/span><\/p>\n

Babi Yar. Context\u00a0<\/span><\/i><\/b><\/p>\n

New York premiere
\nDir. Sergei Loznitsa. Netherlands\/Ukraine. 2021, 121 mins. In Russian and Ukrainian with English subtitles. DCP. Winner of jury prizes at both Cannes and IDFA, Loznitsa\u2019s latest film constructed entirely of archival footage (following The Event<\/i>, The Trial, <\/i>and State Funeral<\/i>) is a meticulous recounting of the events at Babi Yar, a ravine on the outskirts of Kiev where, in 1941, one of the largest mass executions in history took place, and where citizens who turned on their Jewish neighbors under one occupation sought to erase their actions under the next.\u00a0<\/span><\/p>\n

Constant\u00a0<\/span><\/i><\/b><\/p>\n

North American premiere
\nDirs. Sasha Litvintseva, Beny Wagner. Germany\/United Kingdom. 2022, 40 mins. DCP. The artist duo Litvintseva and Wagner use a combination of beautifully rendered 3-D animation, documentary footage, live action, and diagrams to relate the history of the search for a universal standard of measurement to the production and control of knowledge and power. A Science on Screen presentation.\u00a0<\/span><\/p>\n

Day after…\u00a0<\/span><\/i><\/b><\/p>\n

North American premiere
\nDir. Kamar Ahmad Simon. Bangladesh\/France\/Norway. 2021, 115 mins. In Bengali with English subtitles. DCP. A century-old paddle steamer called the Rocket journeys from capital city Dhaka to coastal villages in a 360-degree portrait of contemporary Bangladesh, complete with a literal upstairs\/downstairs class divide\u2014politicians and radicals in conflict, workers, the elderly and bohemians gathered above and below deck.\u00a0<\/span><\/p>\n

Faritra <\/i>+ Two by Marek Mouc\u030cka
\nFaritra
\n<\/i><\/b>North American premiere
\nDir. Tovoniaina Rasoanaivo, Luck Razanajaona. Madagascar. 2021, 78 mins. In Malagasy with English subtitles. DCP. This startlingly candid observational documentary takes place almost entirely inside a juvenile prison in Madagascar, where young boys rough-house, barter, gamble, and recount the conditions and incidents that led to their incarceration\u2014both to the filmmakers and each other as they pass around the camera and slide provocatively between roles.\u00a0<\/span><\/p>\n

Preceded by:\u00a0<\/span><\/p>\n

Attention All Passengers\u00a0<\/span><\/i><\/b><\/p>\n

United States premiere
\nDir. Marek Mouc\u030cka. Slovakia. 2020, 19 mins. In Slovak with English subtitles. DCP.<\/p>\n

In Shallow Water
\n<\/i><\/b>New York premiere
\nDir. Marek Mouc\u030cka. Slovakia. 2020, 10 mins. In Slovak with English subtitles. DCP.
\nRedolent of the frank, reportorial mode of early cinema v\u00e9rit\u00e9, these two miniatures, shot on 16mm, explore social rehabilitation in two different sets of men: train pilots recovering from the trauma of experiencing fatal collisions and prisoners who fish for traditional Christmas carp as a form of community service. Mouc\u030cka evinces a keen eye for the telling idiosyncrasies of his subjects.\u00a0<\/span><\/p>\n

Feathers\u00a0<\/span><\/i><\/b><\/p>\n

United States premiere
\nDir. Omar El Zohairy. Egypt, France, Netherlands, Greece. 2021, 112 mins. In Arabic with English subtitles. DCP. In his auspicious debut feature, a surreal absurdist parable, El Zohairy conjures an entire, self-contained universe around the story of a working-class Egyptian family, whose meekly long-suffering housewife is forced to fend for herself and her children when their overbearing patriarch is suddenly and inexplicably transmogrified into a chicken. Recipient of the Grand Prix at Cannes 2021 Critics\u2019 Week. A Grasshopper Film release.\u00a0<\/span><\/p>\n

First Time [The Time for All but Sunset (Violet)]\u00a0<\/span><\/i><\/b><\/p>\n

United States premiere
\nDir. Nicolaas Schmidt. Germany. 2021, 50 mins. DCP. In what Schmidt describes as his \u201ccommon sensations music movie,\u201d a young man rides the Hamburg tram at magic hour while listening to dreamy pop and sipping Coca-Cola. Over the course of a single film-length shot, interior and exterior spaces commingle and a tantalizing romantic encounter unfolds.\u00a0<\/span><\/p>\n

Husek\u00a0<\/span><\/i><\/b><\/p>\n

United States premiere
\nDir. Daniela Seggiaro. Argentina. 2021, 89 mins. In Spanish and Wich\u00ed Lhamt\u00e9s with English subtitles. DCP. A multi-million dollar urbanization project for the indigenous territory of Gran Chaco threatens to relocate Wichi families and disrupt their ancestral way of life. Chief Valentino and his grandson refuse to comply, which nudges architect Ana to own up to her role in their displacement. Written with Wichi author Osvaldo Villagra and incorporating documentary elements, FIDMarseille winner Husek <\/i>is both intently local and undeniably universal in its themes of erasure and gentrification.\u00a0<\/span><\/p>\n

Preceded by:\u00a0<\/span><\/p>\n

Listen to the Beat of Our Images\u00a0<\/span><\/i><\/b><\/p>\n

New York premiere
\nDirs. Audrey and Maxime Jean-Baptiste. France\/French Guiana. 2021, 15 mins. In French with English subtitles. DCP. Recovering a history of colonial expropriation in Kourou, French Guiana, where, in 1964, France established its Guianese Space Center by displacing 600 Guianese villagers, the Jean-Baptistes\u2019 archival film orchestrates a mesmerizing soundtrack to conjure a pellucid mental image of a lost time before the Europeans.\u00a0<\/span><\/p>\n

A Man and a Camera\u00a0<\/span><\/i><\/b><\/p>\n

New York premiere
\nDir. Guido Hendrikx. Netherlands. 2021, 64 mins. In Dutch with English subtitles. DCP. Dutch instigator Guido Hendrikx\u2019s conceit is simple\u2014he knocks on strangers\u2019 doors and then films them without saying a word. But the results are myriad and complicated. By playing the provocateur, or even, depending on your comfort level, the villain, the director fashions a subtly powerful and frequently hilarious mosaic of community and tolerance.\u00a0<\/span><\/p>\n

A New Old Play\u00a0<\/span><\/i><\/b><\/p>\n

North American premiere
\nDir. Qiu Jiongjiong. China. 2021, 179 mins. In Mandarin with English subtitles. DCP. The story of 20th-century China, from the collapse of the Qing dynasty through Mao\u2019s Cultural Revolution, is recalled through the irreverent remembrances of an old thespian on the road to the afterlife. In his hand-crafted masterwork, celebrated artist Qiu has delivered a gloriously synthetic historical pageant in homage to classical Chinese opera without forgetting to make us laugh. A dGenerate release.\u00a0<\/span><\/p>\n

Reflection\u00a0<\/span><\/i><\/b><\/p>\n

New York premiere
\nDir. Valentyn Vasyanovych. Ukraine. 2021, 126 mins. In Ukrainian with English subtitles. DCP. Vasyanovych\u2019s follow up to his acclaimed Atlantis <\/i>concerns the trials of a Ukrainian surgeon who, moved to join his fellows at the front of Russia\u2019s military incursion, is promptly captured, subjected to sickening horrors, and then released as though from an alien abduction. A grim and bloody tour de force of long-take cinema, Reflection <\/i>obliterates the imaginary line between states of peace and states of war.\u00a0<\/span><\/p>\n

A Thousand Fires\u00a0<\/span><\/i><\/b><\/p>\n

North American premiere
\nDir. Saeed Taji Farouky. France, Switzerland, Netherlands, Palestine, Myanmar. 2021, 90 mins. In Burmese with English subtitles. DCP. This ravishing film follows the tireless Thein Shwe and his family as they eke out a life drilling for oil in the fields of Magway, Myanmar. Tracing ineluctable cycles of life and death on multiple levels\u2014natural, social, spiritual, and economic\u2014A Thousand Fires <\/i>accomplishes a rare feat, successfully balancing the universal and the particular without compromising the dignity of those with whom it was made.\u00a0<\/span><\/p>\n

Vengeance Is Mine, All Others Pay Cash\u00a0<\/span><\/i><\/b><\/p>\n

East Coast premiere\u00a0<\/span><\/p>\n

Dir. Edwin. Indonesia. 2021, 114 mins. In Indonesian with English subtitles. DCP. Indonesian auteur Edwin\u2019s exhilarating whatsit blends grindhouse exploitation with meet-cute romance and magical realism in the form of a shaggy dog road movie. Ajo Kawir, a fighter whose fearlessness is matched only by shame over his enduring impotence, falls for (and gets pummeled by) a female fighter named Iteung, sending him on a journey in which he may finally rise to the occasion. A MoMI Disreputable Cinema presentation.\u00a0<\/span><\/p>\n

Preceded by:
\nSemiotic Plastic
\n<\/i><\/b>New York premiere
\nDir. Radu Jude. Romania. 2021, 22 mins. No dialogue. DCP. Merging the kitschy with the uncanny, Romanian provocateur Radu Jude\u2019s follow-up to Berlin winner Bad Luck Banging or Loony Porn <\/i>dramatizes the cycle of human life, and the history of western civilization, from birth to death, rise and fall, via tableaus of mismatched, inanimate toys.\u00a0<\/span><\/p>\n

What We Leave Behind\u00a0<\/span><\/i><\/b><\/p>\n

New York premiere
\nDir. Iliana Sosa. United States. 2021, 71 mins. In Spanish with English subtitles. DCP. An intimate, lovingly patient portrait of the director\u2019s 89-year-old grandfather Juli\u00e1n, from his final, long, solo bus ride to visit his daughters in El Paso, Texas, to his efforts to build a second house for his blind son on his property in Mexico.\u00a0<\/span><\/p>\n

Persistent Visions Program 1\u00a0<\/span><\/b><\/p>\n

Persistent Visions is the Museum\u2019s ongoing series dedicated to experimental works. In this first program, an exploration of indeterminacy, feelings, time and a need for grounding in the physical world.\u00a0<\/span><\/p>\n

Tigre del Carb\u00f3n\u00a0<\/span><\/i><\/b><\/p>\n

United States premiere.
\naZuLosa. Mexico, Argentina. 2022, 5 mins. Super 8mm-to-digital.\u00a0<\/span><\/p>\n

The Pendulum
\n<\/i><\/b>New York premiere
\nLinda Scobie. United States. 2021, 2 mins. 16mm.
\nThe Limits of Vision
\n<\/i><\/b>World premiere
\nLaura Harrison. United States. 2022, 35 mins. DCP.
\nNotes on Connection III
\n<\/i><\/b>North American premiere
\nAndrea Franco. United States, Peru. 2021, 12 mins. 16mm-to-digital. Autoficci\u00f3n
\n<\/i><\/b>New York theatrical premiere
\nLaida Lertxundi. USA, Spain, New Zealand. 2020, 13.5 mins. 35mm.\u00a0<\/span><\/p>\n

Persistent Visions Program 2\u00a0<\/span><\/b><\/p>\n

Gestural lyrics, offerings to the heavens, rituals for ancestors, meditations on unfulfilled dreams give way to new forms, radical structures for restoring luminous contact with life, which, in turn, prepare the way for primordial visions of the world and our first tremulous contact with it.\u00a0<\/span><\/p>\n

p\u00e0i-la<\/i>\u030d k e\u0304-poo <\/i>(saturday afternoon<\/i>)
\n<\/b>New York premiere
\nErica Sheu. Taiwan\/USA. 2021, 2 mins. 16mm-to-digital.
\nMeiho\u0304do\u0304
\n<\/i><\/b>United States premiere
\nJorge Su\u00e1rez-Qui\u00f1ones Rivas. Spain. 2020, 10.5 mins. Super 8mm.\u00a0<\/span><\/p>\n

Configurations
\n<\/i><\/b>New York premiere
\nJames Edmonds. Germany. 2021, 8 mins. 16mm.
\nNews from Nowhere
\n<\/i><\/b>New York premiere
\nBen Balcom. United States. 2020, 8 mins. 16mm-to-digital.
\nSlow Volumes
\n<\/i><\/b>New York premiere
\nMike Gibisser. United States. 2019, 4.5 mins. 35mm.
\nUntitled (34bsp)
\n<\/i><\/b>New York premiere
\nPhilipp Fleischmann. Austria. 2021, 5 mins. 35mm.
\nMerapi
\n<\/i><\/b>New York premiere
\nMalena Szlam. Indonesia, Canada. 2021, 8 mins.
\nWilliam
\n<\/i><\/b>World premiere
\nNathaniel Dorsky. United States. 2020, 12.5 mins. 16mm.\u00a0<\/span><\/p>\n

FIRST LOOK IN THE MUSEUM GALLERIES\u00a0<\/span><\/p>\n

Our Ark\u00a0<\/span><\/i><\/b><\/p>\n

New York gallery premiere
\nDirs. Deniz Tortum, Kathryn Hamilton. Netherlands, USA, Turkey. 2021, 12 mins. Single-channel loop. Exploring the technological advances that have made backing up our world possible\u2014from trees to turtles to tangerines\u2014Our Ark <\/i>probes the urge to preserve as well as what cannot be captured.\u00a0<\/span><\/p>\n

As Mine Exactly\u00a0<\/span><\/i><\/b><\/p>\n

New York premiere
\nDir. Charlie Shackleton. United Kingdom. 2022. Live virtual reality performance. A mother and son revisit the medical emergency that reshaped their lives and the remarkable fragments that remain of that time in this intimate blend of VR and performance film. Co-presented with Rooftop Films.\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0FIRST LOOK 2022, MUSEUM OF THE MOVING IMAGE\u2019S FESTIVAL OF NEW AND INNOVATIVE INTERNATIONAL CINEMA, TAKES PLACE IN PERSON OVER FIVE DAYS\u00a0 March 16\u2013March 20, 2022\u00a0 Astoria, New York, February 7, 2022 \u2014 Museum of the Moving Image is pleased to announce the complete lineup for the 11th edition of First Look, the Museum\u2019s festival…<\/p>\n","protected":false},"author":2,"featured_media":8320,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[335],"tags":[7089,7091,7098,7087,7092,7081,7080,7088,7082,705,7097,7086,947,7093,7084,7095,7083,7096,7090,7094,7085],"acf":[],"yoast_head":"\nMoMI's First Look Returns Mar. 16-20, Opens with Antoneta Alamat Kusijanovi\u0107\u2019s Cam\u00e9ra d\u2019Or Winner, "MURINA" | Cinema Daily US<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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