Director Bernadette Wegenstein, a filmmaker and professor of media studies at Johns Hopkins University, met Alsop in Baltimore City, where they both live and work.
A close read of two films screening at the 2021 MdFF.
This eclectic approach to audience cultivation speaks to the fact that the Parkway’s core audience is a blend of multi-hyphenates: Cinephiles and filmmakers, arts administrators, college students, and anyone drawn to the Station North arts scene.
Barber's 2017 video piece “3 Peonies,” featured in the BMA’s virtual Screening Room, is like watching a dream play out, feeling both familiar and surreal.
Without trans persons behind the camera, the spectacle of The Right Girls offers few answers for those of us with a personal stake in the outcome of this journey.
It's like reality is bending.
Abdu Ali's nomadic curatorial platform as they lay includes sound and performance art, poetry, and more.
With all of us ostensibly inside, talking less or at least talking to less people, the appeal of hearing voices that aren’t our own for extended periods of time has taken on a certain restorative luster.
COVID cancellations don’t just deprive filmmakers of a chance to show their movies to audiences, but it’s at festivals where movies end up being purchased for distribution.
“We’re a small group of film enthusiasts with a sense of humor and a low tolerance for stupidity,” The Cinephobe told BmoreArt.
This meandering documentary uses the 1997-1998 Chicago Bulls season (the last one with Jordan and, therefore, the last time the Jordan-led team won big) as scaffolding for a larger story about Michael Jordan and basketball.
With set times for morning cartoons and kid stuff, lots of movies, live musical performances, and original programming, there’s a mixtape quality to QuaranTV.
Never Rarely Sometimes Always is something of a procedural, except the procedure here isn’t a police investigation or anything along those lines, it’s an abortion.