As far as multiplexes go, my local one in Wichita, Kansas, was wonderful. Eschewing the corporate homogeneity of AMC and other chains, the sprawling Art Deco–revival Warren buildings were meant to recapture the glory of old movie palaces. The red carpet climbed up the walls as wainscotting in the bathrooms, which were distinctly creepy. The ceilings were covered by murals depicting Grecian deities. Portraits of John Wayne, Marilyn Monroe, and Bogie hung on the walls. But in 2017, the eight-location chain was purchased by Regal Cinemas, and while the red carpet and Grecian deities remain, we resent the corporate encroachment. I still often go alone, in the middle of the week, happy to pay whatever inflated price for 90 minutes of air conditioning, red carpet, and haunted bathrooms.
A Conversation with Gordon Quinn and Amir George For over 50 years, Chicago’s Kartemquin Films has been at the vanguard of social issue nonfiction.
Ambulante's Post-COVID Reemergence: A Renewed Commitment to Community, But a Divide between Leadership and Workers
When opening her masterclass at Visions du Réel in Switzerland last April, filmmaker Kirsten Johnson named each member of the technical crew on set.
The Art of Building a Road: Working Films' New Organizational Structure and a Future of Shared Power
We’re in a moment in the world, and in the documentary field, where it’s become exceedingly clear that the dominant ways of working are not serving us