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J. Hoberman

Contributor
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    Still from Emilio Fernández’s Victims of Sin.
    FILM
    The sordid grandeur of Emilio Fernández’s Victims of Sin
    Ben Morea, Red Eclipse, 1965, house paint on canvas, 56 × 56".
    J. Hoberman on Nadja Millner-Larsen’s Up Against the Real
    Kenneth Anger, Scorpio Rising, 1963, 35 mm, color, sound, 28 minutes. Kenneth Anger.
    J. Hoberman on Kenneth Anger (1927–2023)
    Radu Jude, The Potemkimists, 2022, DCP, color, sound, 18 minutes. (Alexandru Dabija and Cristina Draghici.)
    An absurdist homage to Battleship Potemkin
    Neelon Crawford, Paths of Fire II, 1976, 16 mm, color, silent, 8 minutes.
    J. Hoberman on Neelon Crawford
    David Dufresne, Un pays qui se tient sage (The Monopoly of Violence), 2020, 2K video, color, sound, 86 minutes.
    J. Hoberman on David Dufresne’s Monopoly of Violence (2020)
    Ulrike Ottinger, Paris Calligrammes, 2020, HD video, color and black-and-white, sound, 131 minutes.
    J. Hoberman on Ulrike Ottinger’s Paris Calligrammes
    Jayden X, Shooting and Storming of the US Capitol in Washington DC, 2021, video, color, sound, 39 minutes 36 seconds.
    J. Hoberman on Jayden X’s Shooting and Storming of the US Capitol in Washington DC
    Shuzo Azuchi Gulliver, Cinematic Illumination, 1968–69, eighteen slide projections (1,350 black-and-white slides, sound, 114 minutes 45 seconds), 108 color gels, disco ball. Installation view, the Museum of Modern Art, New York, 2020. Photo: Robert Gerhardt.
    J. Hoberman on Shuzo Azuchi Gulliver’s Cinematic Illumination
    Sergei Loznitsa, State Funeral, 2019, 2K video, color and black-and-white, sound, 135 minutes.
    J. Hoberman on Sergei Loznitsa’s State Funeral
    Jean Cocteau, Le sang d’un poète (The Blood of a Poet), 1930, 35 mm, black-and-white, sound, 50 minutes. Poet (Enrique Rivero).
    J. HOBERMAN ON JEAN COCTEAU’S ORPHEUS
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