The films of the twelve-part retrospective series “L.A. Rebellion: Creating a New Black Cinema” evoke the sense that the Rebellion, in and of itself, is a living tradition.
by Chris Deakin •
The Chicago Anarchist Film Festival is in its thirteenth year, if you don’t count a pause or two since its start. This makes it one of the longest running anarchist institutions in the city.
by Candice Ralph •
When I found my way to the front entrance of the Lacuna Artists Lofts, the gallery was buzzing with an electricity reminiscent of an arcade.
by Emily Holland •
“The Last Pictures,” Trevor Paglen’s most recent art installation, is a collection of carefully curated photos that you will likely never ever see.
by Katherine Jinyi Li •
With an eye toward the past, the Black Cinema House encourages radical filmmakers of the future.
by John Gamino •
“There are no heroes,” Stephen Reginald warned. “People aren’t entirely good or bad.”
by Mosum Shah •
Nate Marshall’s favorite word is “scruples,” because he likes the way it sounds. In moments of silence, he flails his hands to convey emotion.
by Jamison Pfeifer •
It was in a church basement on Drexel and 50th, in a small after-school program, where Melina Kolb first apprehended the generosity of Sue Duncan.