Film

Why do we love to watch people who can’t act?

Johan Grimonprez, Shadow World, 2016, film still. Courtesy: the artist, Sean Kelly Gallery, New York, Galerie Kamel Mennour, Paris, Flatland Gallery, Amsterdam, Ronald Reagan Presidential Library, Simi Valley, Louverture Films, Dillywood and Shadow World inc., New York

Johan Grimonprez’s recent films explore the mechanisms of the arms trade

Old Food, 2017, production still. Courtesy: the artist, Galerie Isabella Bortolozzi, Berlin, Cabinet Gallery, London, Gavin Brown’s Enterprise, New York and Rome, and dépendance, Brussels

Helen Marten responds to Ed Atkins’s new work, Old Food, currently showing at Martin-Gropius-Bau, Berlin

The New York-based filmmaker has been questioning the politics of image-making for more than three decades

Despite its magic unreality, Yorgos Lanthimos’s tale of complicity reflects a brutal real-world collateral

Two films using time and repetition to question our fragile relationship to lived reality and revolutionary politics

The debut feature film by Austin Lynch and Matthew Booth is a captivating portrait of America loosely inspired by reclusive artist Forrest Bess

Nearly three hours long and containing only two jokes, with this film somehow you don’t mind

From Syrian construction workers in Beirut to life under post-Socialism: the 2017 Open City Documentary Festival in London

On the Marxist-inspired children's films of Hartmut Bitomsky and Harun Farocki, screened for the first time in more than 40 years 

From a close study of the American voting booth to a plague of hydrangeas: the New York Film Festival’s Projections slate, 6-9 October

The telling literalism in Western reviews of China’s summer blockbuster hit