Now in its third year, Filmatique Talents is an online festival spotlighting exciting young filmmaking talents from across the globe.
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A diverse collection of nonfiction works from Finland, Palestine, Syria, Iran, and the United States.
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In an exclusive essay for Filmatique, Dr. Paula Halperin reads Aquarius as gently uncovering the conflicts and contradictions of a deeply unequal and increasingly politically authoritarian society.
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In an exclusive interview with Filmatique, Anne Émond discusses love as the impetus for filmmaking, hiking in Turkey with her actresses, the importance of trust, and her newest project—a farm.
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In a year that proved that truly anything is possible, cinema provided a proverbial shelter, a refuge, to many across the world. See Filmatique's Top Films of 2020.
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In an exclusive interview with Filmatique, Iram Haq discusses navigating life experience with cinematic depiction, telling a story from multiple points of view, the politics of filmmaking, and her next projects.
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Pablo Larraín's Ema, David Zonana's Mano de obra, and Małgorzata Szumowska's The Other Lamb are among Filmatique’s Top Films of the 2019 San Sebastián International Film Festival.
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A feeling of elation pervaded the 77th annual Mostra Internazionale d'Arte Cinematografica della Biennale di Venezia, a joy at its mere existence.
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In an exclusive essay for Filmatique, Guest Curator Ritika Biswas examines legacies of violent colonial mapping in Thailand and Myanmar, necropolitics, and the notion of becoming in Phuttiphong Aroonpheng's Manta Ray.
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In an exclusive interview for Filmatique, Phuttiphong Aroonpheng discusses the voicelessness of the Rohingyas, a prevalence of ghosts in his work, improvising on set, and his second feature, Morrison.
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In an exclusive essay for Filmatique, Dr. Paula Halperin examines the political valences of anxiety and uneasiness in various works of Theodore Collatos.
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Matias Mariani's Cidade Pássaro (Shine Your Eyes), Kelly Reichardt's First Cow, and Eliza Hittman's Never Rarely Sometimes Always number among Filmatique’s Top Films of the 2020 Berlin International Film Festival.
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In an exclusive essay for Filmatique, Guest Curator Aldo Kempen explores the correspondence between the spectator and the camera as embodied presence in Sebastian Schipper's tour-de-force fourth feature, Victoria.
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In an exclusive essay for Filmatique, Guest Curator Ritika Biswas explores the deceptive politics of Court, a film that undermines political binaries, the pursuit of objectivity, and passive spectatorship in a post-truth age.
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In an exclusive essay for Filmatique, Guest Curator Ritika Biswas traces invisible vectors of inter-European migrations and linguistic markers of entitlement and power in Ulrich Seidl's Import/Export.
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In turbulent times, we believe that art can serve as a balm for the soul, a point of contact into worlds unseen. Discover Filmatique's Top Films of 2019.
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In an exclusive essay for Filmatique, Guest Curator Jacob Browne assesses Hard to be a God as a film that scrutinizes just how impossible it can be to see with any clarity, to maintain the neutrality of the observer, and to watch without being either transformed or petrified.
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In an exclusive essay for Filmatique, Guest Curator Aldo Kempen examines Anna Muylaert's Don't Call Me Son as deconstructing a historically contingent conception of adolescence, situating coming-of-age culturally and geographically, and spotlighting a queer(ing) fluidity.
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In an exclusive essay for Filmatique, Guest Curator Marisa Winckowski explores the undercurrents of affection and angst that govern Xavier Dolan's precocious debut film.
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In an exclusive essay for Filmatique, Guest Curator Ritika Biswas evaluates Neon Bull as a hybrid queer, political, and social performance that eschews the eco-utopian, portraying non-/human worlds as uneasy assemblages.
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