From morning routines to midnight dramas, thousands of iconic film moments are synced to real time in Christian Marclay’s “The Clock,” a 24-hour cinematic journey on view now at MoMA.

From morning routines to midnight dramas, thousands of iconic film moments are synced to real time in Christian Marclay’s “The Clock,” a 24-hour cinematic journey on view now at MoMA.
Now in its 24th year, MoMA’s annual Doc Fortnight festival presents adventurous new nonfiction and hybrid fiction cinema from around…
The do-it-yourself spirit of the punk rock movement found renewed expression amid fiercely independent, politically engaged DIY musicians, publishers, and…
This comprehensive retrospective celebrates Jerry Schatzberg, the photographer-turned-filmmaker whose work captured the raw edges of American life in the 1970s…
Our annual To Save and Project festival returns in 2025 with a rich selection of newly restored treasures from archives…
Every year there are films that resonate far beyond a theatrical release—if they manage to find their way to a…
On the occasion of the centenary of Marcello Mastroianni’s birth (1924–1996), MoMA, in collaboration with Cinecittà, Rome, has invited the…
A marvelously inventive throwback to underground comix of Kim Deitch and the antic handdrawn animation of Sally Cruikshank and Suzan Pitt, Endless Cookie takes us on a wild ride with the half-brothers Scriver—Peter is the Indigenous kid, Seth the white one—as they journey back to 1980s Toronto and the icily remote regions of Shamattawa, a First Nations community in northern Manitoba, in search of family ties and divides. The hilarious tales, many of them involving chaotic menageries of caribou, dogs,…
Johnnie To’s incisive exploration of power dynamics within Hong Kong’s triad societies marked a new political dimension in his career. As two rival gang leaders (Simon Yam and Tony Leung Ka-fai) vie for control of the Wo Shing Society, To strips away the glamor often associated with gangster films to reveal a world of shifting alliances and ruthless ambition. The director’s restrained approach, favoring tense conversations and sudden bursts of violence over elaborate action sequences, creates a palpable atmosphere of…
Who said time heals all wounds? Shot in her hometown of El Prat de Llobregat (located in the southwestern periphery of Barcelona) with an impressive cast of nonprofessional actors, Catalan writer-director Laura Ferrés’s alternately tender, clever, and mysterious debut feature mixes realism with melodrama in the story of a fiftysomething casting director who—while on an assignment to find “normal-looking people” for a left-leaning political party’s campaign video—unwittingly befriends the woman who gave birth to and abandoned her as a teenager…
Journalist Shiori Itō turns the camera on herself in a breathtakingly courageous investigation of her own sexual assault, which resulted in a landmark case for the Me Too movement in Japan. From courtrooms to video diary entries, the film follows Itō’s 2017 court battle in real time, which is made all the more gripping by its palpable mix of journalistic acumen and harrowing trauma. Along the journey to bring Itō’s high-powered attacker to justice, Black Box Diaries also becomes an…
In September 2022, Mediateca Onshore was inaugurated in Malafo, a village in Guinea-Bissau, marking a half-century of Guinean cinema production. Resonance Spiral documents the construction of this community screening space—but what’s being built is so much more. Part of a decade-long project instigated by filmmakers and artists Filipa César, Sana na N’Hada, and Marinho de Pina, among others, the building is a site for preserving Guinean militant cinema histories, a portal for making audiovisual archives from of the country’s revolutionary…
Kumjana Novakova’s award-winning second feature shakes open the archive of what has come to be known as the Foča Rape Camp Trial, which led to the codification of mass rape and sexual enslavement as a weapon of war as crimes against humanity under international law. Drawing on survivor testimonies that reveal the depths of war crimes committed against women and girls during the Bosnian War, Novakova’s unflinching film preserves the subjects’ anonymity while bearing witness to their collective memory—and their…
To Save and Project kicks off on January 11 with the North American premiere of Albert Parker’s The Black Pirate, introduced by filmmaker Alexander Payne (The Holdovers, Election). As MoMA curator Dave Kehr, who helped oversee the painstaking and complicated restoration, observes, “Douglas Fairbanks didn’t get to be the King of Hollywood by doing anything small, and when he decided to make a pirate movie—at the urging, in Hollywood legend, of the child star Jackie Coogan—he wanted color to reflect…
Guiseppe Tornatore’s love letter to a Sicilian childhood spent at the movies, depicted through the father-son relationship between a local cinema projectionist and the village scamp who takes refuge in his booth, won the hearts of audiences worldwide—and became instantly recognizable for Ennio Morricone’s touchingly sentimental score. Today, as we settle for streaming “content” at home, it doesn’t hurt to be reminded of the magic of Dream Palaces and watching Charlie Chaplin together under the stars.
4K restoration screening December 1 and 4 at MoMA.
Now in its 24th year, MoMA’s annual Doc Fortnight festival presents adventurous new nonfiction and hybrid fiction cinema from around the world. Featuring 14 world premieres and 19 North American or US premieres from 28 countries, Doc Fortnight 2025 celebrates new work by Michael Almereyda and Courtney Stephens, Lila Avilés, Radu Jude, Mariano Llinas, Errol Morris, Stanley Nelson, Ben Rivers, Amy Sillman, Cauleen Smith, Elisabeth Subrin, Lou Ye, Jasmila Žbanić, and many others.
A beacon for innovative storytelling, Doc Fortnight 2025 opens on February 20 with the world premiere of Stanley Nelson’s We Want the Funk!, a syncopated history of a worldwide cultural phenomenon featuring explosive performances by James Brown, Parliament Funkadelic, Fela Kuti, and more. Jesse Moss and Amanda McBaine’s Middletown, a documentary fresh from Sundance about a group of muckraking high school students who uncovered a toxic waste scandal in upstate New York in the early 1990s, is the festival’s centerpiece screening. Doc Fortnight 2025 closes with the world premiere of Errol Morris’s CHAOS: The Manson Murders, which posits new theories, and discredits old ones, about the notoriously savage slayings.
This year’s featured documentaries range from stories of influential figures like Andy Warhol, John Lilly, B. F. Skinner, Henry Fonda, and Emerik Blum, to portraits of places as varied as zoos and wildlife refuges in Argentina , the city of Wuhan during the outbreak of COVID, and a Milanese hospital for gender transition and infertility assistance.
As Doc Fortnight 2025 so vividly illustrates, contemporary filmmakers are confronting some of the most complex issues of our time. Sam Abbas’s Europe’s New Faces, with music by Bertrand Bonello, puts a human face on the humanitarian crisis of African and Middle Eastern refugees and asylum seekers adrift both in the Mediterranean sea and in the legal limbo of the EU’s broken immigration system. Lesla Diak’s Dad’s Lullaby observes a soldier with PTSD returning from the Ukrainian front. Altyazi Fasikul, a filmmaking collective in Turkey, recounts stories of journalistic and artistic repression under the Erdogan regime in Seen Unseen: An Anthology of (Auto)Censorship. Daniela Meressa Rusnoková’s Grey Zone and Lynne Sachs’s Contractions are anguished portraits of women facing pregnancy complications and societal threats to their bodily autonomy, respectively. And Cauleen Smith’s Volcano Manifesto, presented as a trilogy for the first time, is but one of several contemporary works in Doc Fortnight that investigate themes of exile, liberation, the erasure of Indigenous societies and cultures, and the legacy of colonialism.
In addition to We Want the Funk!, Doc Fortnight 2025 celebrates music in other creatively diverse and thrilling ways, from Ephrahim Asili’s Isis and Osiris, about the jazz legend Alice Coltrane’s experimentations with harp, to Lila Avilés’s Músicas, a new featurette by the director of Tótem about an orchestral band of women musicians from 60 different indigenous Mexican communities. Philippe Parreno’s La Quinta del Sordo, which will be bracketed by a live cello performance, imagines an “invisible space”: the house outside Madrid, now destroyed, where Francisco Goya created his “Black Paintings” between 1819 and 1824.
February 2 - March 7, 2025 at MoMA. Tickets and schedule here.