GENEVIEVE YUE

essays and criticism (by journal)

Art-Agenda

review of the Whitney Biennial film program

review of Arthur Jafa’s Love Is The Message, The Message Is Death 

review of Hollis Frampton’s ADSVMVS ABSVMVS at Room East

review of Pierre Bismuth’s Where Is Rocky II? Teaser-Trailer at Team Gallery

review of the 6th annual Migrating Forms at BAMcinématek

review of Slide, Slide, Slide at Microscope Gallery

 

Artforum.com

Nested Forms,” report on the 42nd Rotterdam Film Festival

Critic’s Pick: Brian Bress, Under Performing

Pop Up Video: Michael Robinson at the REDCAT

 

Cineaste 

contribution to “Film Criticism: The Next Generation, Part II”

 

Cinema Scope 

Michael Robinson

review of The Father of My Children (June 2010)

 

Discourse

Deadly Desires,” book review of Poison Woman: Figuring Female Transgression in Modern Japanese Culture, by Christine L. Marran

 

Even Magazine

 The Lights of Home” (on the films of Chantal Akerman)

 

Film Comment

review of Paraguay Remembered

2016 year-end capsule review of Right Now, Wrong Then

review of Hoop Dreams for “Radical Sundance”

short take review of Tom Ford’s Nocturnal Animals

review of Oberhausen Short Film Festival (2016)

review of Il Cinema Ritrovato festival (2015)

Kitchen Sink Cinema: Artist-Run Film Laboratories

Living Cinema: Experimental Film and the Academy

review of Bernardo Bertolucci’s The Path of Oil

report on Il Cinema Ritrovato festival (2013)

Our Nixon Outtakes,” a conversation with Penny Lane and Brian Frye

Infinite Cities: Phil Solomon’s “EMPIRE” and Tsai Ming-Liang’s Walker at the 16th Views from the Avant-Garde at the New York Film Festival

Loose Ends: Interview with Tony Conrad

Clocks for Seeing,” a review of Christian Marclay’s The Clock

review of I Killed My Mother (July/August 2010)

film review: Tokyo Sonata

film review: Gomorrah

 

Film Quarterly 

Interview with Annie Baker (2015)

report on the 43rd Rotterdam Film Festival

“Unhomely Video,” book review of Caetlin Benson-Allott’s Killer Tapes and Shattered Screens

Walkin’ in the Sand: Interview with Laida Lertxundi

“Film by Fire: Olivier Assayas and A Post-May Adolescence: Letter to Alice Debord,” review essay

 

In Media Res

The Errant Pixel” on Basma Alsharif’s Home Movies Gaza

 

Joan’s Digest 

Rewound

 

Killing the Buddha 

Malick’s Cosmos, Revisited

Falling Up: Brent Green’s Gravity Was Everywhere Back Then

 

LA Weekly 

review of Lee Anne Schmitt’s The Last Buffalo Hunt

Pop Tart: Bonnie McKee, the singer/songwriter behind Katy and Britney’s sugar-coated hits

 

Metrograph Edition 

View from a Booth

 

Millennium Film Journal

Introduction to an interview with Stan Brakhage conducted by Pip Chodorov, “Brakhage at the Millennium,”  (abridged version printed in The Brooklyn Rail, “Stan Brakhage with Pip Chodorov”)

 

Moving Image Source

Moments of 2012,” on David Gatten’s The Extravagant Shadows

See It Big program, notes on The Sound of Music

“Moments of 2011,” reflection on Occupy Davis

Empire of Signs: Get Out of the Car and the Living Ruins of Thom Andersen’s Los Angeles

View from the Falls: A Review of the Phil Solomon Retrospective at the National Gallery of Art

 

Reverse Shot 

review of Paul Verhoven’s Elle

review of Hong Sang-soo’s Yourself and Yours

review of Projections at NYFF (2015)

Scene Missing,” essay on Morgan Fisher’s Standard Gauge

report on First Look Festival at The Museum of the Moving Image

Reverse Shot, year-end write-ups on Two Days, One NightThe Hungergames: Mockingjay Part 1Under the Skin; and Birdman

report on Projections Program at the New York Film Festival  (2014)

review of Martin Scorsese’s Hugo 

review of Abderrahme Sissako’s Timbuktu

review of Asia Argento’s Misunderstood

American Gladiators: Scandal/Primary Colors

Into the Mystic,” report on the 17th Views from the Avant-Garde at the New York Film Festival”

Our University,” on Frederick Wiseman’s At Berkeley

Hide and Seek: the Films of Dani Leventhal

Top 10 of 2012 (The Kid with a Bike); 11 Offenses of 2012 (Ruby Sparks); 2 Cents of 2012 (“Most Infantalizing Indie Rom-Com” and “Best New York Times Ratings Explanation Capsule Review”)

Reverse Shot’s Best of 2009, film review: 24 City

Reverse Shot’s Best of 2008, film review: Still Life

report on the 16th Views from the Avant-Garde at the New York Film Festival (2012)

The Rose and the Briar,” review of Wuthering Heights

All the World’s a Stage,” review of Ai Wei Wei: Never Sorry

Blackout,” on Todd Haynes’s Safe

Island Record,” review of It’s the Earth, Not the Moon

Two Cents of 2011, “Best Prop: The Planet Melancholia

Best of 2011, film review: Nostalgia for the Light

Castles Made of Sand,” report on the 5th Abu Dhabi Film Festival

Unstable Images,” report on the 15th Views from the Avant-Garde at the New York Film Festival

 “Material Girl,” review of My Week with Marilyn

Fever Dream,” review of Sleeping Sickness

Let’s Talk About Sex,” review of A Dangerous Method

All Together Now,” review of Le Havre

Forever Young,” on John Hughes’ Curly Sue

Will the Circle Be Unbroken?” report on the 3rd Migrating Forms festival

Garden of the World,” review of The Tree of Life

In a Lonely Place,” on La Luna and Lost in Translation

You’ve Been Served,” review of The Housemaid

Reverse Shot’s 11 Offenses of 2010, film review: Eat Pray Love

Best of 2010, film review: Bluebeard

 “Now, Voyager” on Sandra Kogut’s Mutum

Acts of Perception,” report on the 14th Views from the Avant-Garde at the New York Film Festival

That Old Time Religion,” review of The Last Exorcism

Whistle a Different Tune,” on The Sound of Music

Combat Fog,” review of Restrepo

The Light of the Century,” on Syndromes and a Century

Desert of the Real,” report on the 13th Views from the Avant-Garde at the New York Film Festival

World Gone Wrong” review of The Baader Meinhof Complex

Phantom Heart,” on Claire Denis’s L’Intrus

California Dreaming,” interview with Agnès Varda

 review of Azazel Jacobs’s Momma’s Man

daily dispatches from the 37th Rotterdam Film Festival  dispatch 1   dispatch 2

Shadows and Outlaws,” report on the 12th Views from the Avant-Garde at the New York Film Festival

The Pale Light of Morning,” review of Let the Right One In

The Light Outside the Window,” on Hou Hsiao-Hsien’s Café Lumière

Quiet Riot,” interview with Apichatpong Weerasethakul

Salon.com

Real Life Rock Top Ten contribution (8)

Senses of Cinema

Measuring Distance,” report on the 24th Images Film Festival

Manners of Speech,” report on the 40th Rotterdam Film Festival

The Curtain’s Undrawn: An Interview with Olivier Assayas

Frames of Viewing,” report on the 38th Rotterdam Film Festival

Short: As Long as It Takes at the 36th Rotterdam Film Festival

Observation in Progress,” report on the 11th Views from the Avant-Garde at the New York Film Festival.

Speaking Through Cinema,” report on the 36th Rotterdam Film Festival

Great Directors: Jonas Mekas

What the Eye Sees,” report on the International Experimental Cinema Exposition

The Movies that Make up Our Minds,” report on the 35th Rotterdam Film Festival

How We Talk About Things,” report on the 32nd Rotterdam Film Festival”

The Last Picture Show: Film and Video Installation in the Late 60s and Early 70s

Cinema-Tourism,” report on the 4th Annual Bangkok International Film Festival

 

The Brooklyn Rail

The Cinema of Cruelty: review of Rithy Panh’s The Missing Picture

From a Dark Room: Interview with Sandra Gibson and Luis Recoder

 

The Times Literary Supplement

book review of Jean-Louis Schefer, The Ordinary Man of Cinema

book review of Rashna Wadia Richards’ Cinematic Flashes: Cinephilia and Classical Hollywood

book review of Pier Paolo Pasolini’s Saint Paul: A Screenplay

book review of Nicolas Roeg’s The World Is Ever Changing

book review of Jonathan Kirshner’s Hollywood’s Last Golden Age 

book review of Siegfried Kracauer’s American Writings

 

Waging Nonviolence

Step Up‘s Franchised Revolution

 

Walker Art Center Magazine 

Films the Color of Blood: On The Renegades