8 Movies to Watch at MoMI's First Look 2026

      A glimpse into the most thrilling talents in both American and global cinema is showcased as the Museum of the Moving Image presents its First Look festival, occurring from April 23 to May 3 at its venue in Queens.

      First Look features a diverse and eclectic array of films from around the globe, including several titles that are still in search of distribution, potentially offering one of the few opportunities to experience these works on the big screen.

      Here are a few highlighted selections that we found particularly enjoyable at the festival circuit and beyond, and which are definitely worth pursuing.

      The Bend in the River (Robb Moss)

      In The Bend in the River, Robb Moss’ third chapter chronicling the lives of his friends (following The Same River Twice in 2003 and Riverdogs from the late ’70s), we encounter a gentle yet impactful documentary that often feels like a reflection of oneself. It is deeply personal and revealing without much effort. To paraphrase the brilliant tagline from the 1968 classic The Swimmer: When you're watching The Bend in the River, do you contemplate your own experiences? – Dan M. (full review)

      Carousel (Rachel Lambert)

      Carousel transports viewers through time. Collaborating with Chris Pine and Jenny Slate, writer-director Rachel Lambert has crafted a sensitive, patient slice-of-life film reminiscent of Murphy’s Romance or Starting Over. The mere fact that this film exists feels significant. Pine stars as Noah, a local doctor grappling with a recent divorce. Complications arise when his high school ex-girlfriend Rebecca (Jenny Slate) returns to town. Rebecca starts coaching the high school debate team, which Noah’s daughter Maya (Abby Ryder Fortson) attends. As Maya delves into debate and navigates intense feelings related to her parents’ separation, Noah and Rebecca rediscover their affection for each other. – Dan M. (full review)

      Hot Water (Ramzi Bashour)

      Set against the backdrop of the Midwest, Las Vegas, and California, Hot Water draws inspiration from a road trip Bashour took after studying in the U.S. and conveys a sense of yearning for one's homeland. With a subdued tone that humorously captures Layal’s assertive and compulsive nature, it utilizes its diverse settings and landscapes, offering a vivid impression of both belonging and dislocation. While Layal maintains ties to her community in Beirut, including ailing family members, she navigates life abroad. – John F. (full review)

      Humboldt USA (G. Anthony Svatek)

      This engaging documentary tackles genuine ecological issues with a playful tone, following G. Anthony Svatek’s Humboldt USA as it explores the influence of Alexander von Humboldt through three locations named in his honor. Rather than presenting the typical dry and overly polished messages often found in environmental documentaries, Svatek adeptly showcases the vibrant personalities of those advocating for change, from California’s Humboldt Redwoods to Buffalo’s Humboldt Parkway. – Jordan R.

      It Goes That Quick (Ashley Connor and Joe Stankus)

      Among the few world premieres at First Look, It Goes That Quick marks the feature debut of filmmaking duo Joe Stankus and Ashley Connor, the cinematographer known for Madeline’s Madeline and, most recently, The Chair Company. A deeply personal project, it chronicles their extended family over a decade with intimate Mekas-like authenticity. By blending archival footage with contemporary moments that highlight memorable family members, It Goes That Quick captures the distinctive quirks of its family, demonstrating that profound insights can be found in everyday life with the right perspective. – Jordan R.

      The Misconceived (James N. Kienitz Wilkins)

      Seven years after their collaboration on The Plagiarists, writers James N. Kienitz Wilkins and Robin Schavoir return with The Misconceived—another sharp and creative examination of the anxieties faced by the ever-elusive creative class. Directed by Peter Parlow, their earlier project played with found-footage horror to explore the untested liberalism of urban life alongside the pressures of artistic validity and writer's block. The Misconceived—described in promotional materials as an acerbic satire—truly lives up to that biting label, presenting a visually stimulating experience while exploring rich thematic ground and pushing formal boundaries. – Rory O. (full review)

      One in a Million (Itab Azzam and Jack MacInnes)

      “War is not the most challenging experience one can face. It pales in comparison to what follows.” These opening words encapsulate the essence of Itab Azzam and Jack MacInnes’ One in a Million, an epic narrative of exile and integration centered on Israa and her family, Syrian refugees escaping their war-torn homeland for a fresh start in Germany. Captured over a decade, the family’s story also serves as a coming-of-age narrative, where the joy of newfound freedom and the challenges of assimilation test familial bonds. While the film's episodic format and relatively brief runtime, given its