Screen Slate

Screen Slate is committed to enhancing the culture of moving images by: - Providing daily updates on independent, repertory, experimental, and artist-driven film and video screenings and exhibitions in New York City. - Creating and sharing original essays, cultural critiques, and interviews from a variety of writers, featuring daily highlights, detailed articles, and print publications like books and zines. - Building and updating a personalized online platform along with daily and weekly newsletters that share listings and insights with thousands of website visitors and email subscribers. - Hosting public events that highlight underrepresented or overlooked works, support artists, and foster community connections. With Screen Slate, audiences can explore a wide range of programming from repertory theaters, art venues, museums, microcinemas, cultural centers, and galleries. Additionally, the daily listings and commentary serve as a historical archive of significant and often transient cultural, artistic, and archival moving image events in New York City and its surroundings. Screen Slate operates as a charitable organization in New York and holds tax-exempt status under section 501(c)(3) of the Internal Revenue Code. Since its inception in February 2011, it has become a vital resource for bridging the gap between audiences, artists, filmmakers, programmers, curators, and venues within the film and art communities.

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Smorgasbord

4 weeks ago | screenslate.com | Will Sloan

When Jerry Lewis returned to movie screens after a decade-long absence with Hardly Working (1980), he opened the film with a rapid-fire montage of highlights from his ‘50s and ‘60s comedies. These clips showed a young, impossibly energetic dynamo backed with all the resources of the Hollywood Dream Factory. Clearly intended to re-establish Lewis’s pedigree, the montage couldn’t help but render Hardly Working an accidental meditation on its star’s diminished status.
Branca de Neve

1 month ago | screenslate.com | Pierre Jendrysiak

When I met the film critic and programmer Ricardo Vieira Lisboa in Porto, I asked him a few questions about Branca de Neve (2000), which he included in his Sight and Sound “Greatest Films of All Time” list. (His list consists of ten films “without images.”) I asked him about the coat that Monteiro supposedly placed on the camera during the film shoot and the possibility that a few glimpses of light managed to slip through—that there might be an image somewhere in the film’s complete darkness.
True/False 2025

2 months ago | screenslate.com | Nicolas Rapold |Saffron Maeve

Our dispatch of the 2025 True/False Film Festival comes courtesy of Nicolas Rapold and Saffron Maeve, who sampled the festival’s diverse slate of documentaries and offered their thoughts regarding its highlights. Nicolas RapoldThis year, strangers at True/False kept asking whether it was my first time at the festival. I took that as a good sign—I didn't look jaded?—but in fact I'd gone several times.
Conical Intersect + Office Baroque

2 months ago | screenslate.com | Brandon Kaufman

For his 1977 cutting piece Office Baroque, Gordon Matta-Clark took a chainsaw to a condemned office building in Antwerp, removing semi-circle and teardrop shapes from its roof and five floors to offer what he called “a stroll through panoramic arabesques.” Sunlight shifted and slanted as it shot through the previously sterile structure.
IFFR 2025: Dispatches from the 54th International Film Festival Rotterdam

2 months ago | screenslate.com | Beatrice Loayza |Öykü Sofuoğlu |Cici Peng

Our dispatch of the 2025 International Film Festival Rotterdam comes courtesy of Beatrice Loayza, Öykü Sofuoğlu, and Cici Peng, who explored the festival’s Tiger Competition and focus programs. Beatrice Loayza, Tiger CompetitionThis year marks my fifth covering the International Film Festival Rotterdam—a not insignificant run, though I wouldn’t call myself a veteran, either.
Moral

Feb 12, 2025 | screenslate.com | Jason Liwag

Marilou Diaz-Abaya’s Moral (1982) is widely regarded as a feminist and humanist masterpiece in the Philippines.
Bye Bye Love

Jan 19, 2025 | screenslate.com | Blake Simons

Utamaro (Ren Tamura), a shaggy-haired drifter, has just broken up with his girlfriend over payphone. With his skinny jeans, snazzy outfit, and pistol, there’s a touch of Monkey Punch’s Lupin III to him. No sooner has he put down the phone when he collides with Giko (Miyabi Ichijô)—beautiful, long-haired, the epitome of Meiko Kaji chic. The mysterious androgyne resumes running until they’re out of the frame. Utamaro and the spectator follow, breaking boundaries of form and logic as they go.
About the Destination: The Brutalist and Israel

Jan 1, 2025 | screenslate.com | Noah Kulwin

The Brutalist does not open with its eponymous architect László Tóth (Adrien Brody). Instead, the movie’s first and final moments are with Zsófia (Raffey Cassidy), Tóth’s young niece. In the film’s overture, Zsófia faces the camera while being badgered by a Hungarian border officer who concludes his spiel with the question that more or less animates the entire film: “What is your true home?
A nice witch and a wicked fairy: Isabelle Huppert on Hong Sangsoo’s A Traveler’s Needs

Nov 21, 2024 | screenslate.com | Nicolas Rapold

One of the most delightful actor-director partnerships right now is Isabelle Huppert and Hong Sangsoo. They’ve made three films together: In Another Country (2012), Claire’s Camera (2017), and now A Traveler’s Needs (2024). Hong’s spontaneous style of filmmaking holds an evident appeal for Huppert, who has often been identified with roles (and directors) involving an almost brittle sense of control.
Wild in the Streets

Oct 24, 2024 | screenslate.com | Patrick Dahl

A more able director than the TV-veteran Barry Shear might have better nurtured the parodic core of Wild in the Streets (1968), but greater tonal cohesion would rob the film of the odd tension that makes it perfect October viewing ahead of yet another most consequential election of our lifetime.