Michael Webb
writes on modern architecture, design, and travel. He is the author of 26 books, most recently Modernist Paradise: Niemeyer House, Boyd Collection (Rizzoli) and Venice CA: Art +Architecture in a Maverick Community (Abrams). He travels widely in search of new and classic modern architecture and contributes to magazines around the world. Michael lives in the Neutra apartment that Charles and Ray Eames once called home.

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Michael Webb

Entries in film (2)


Cinema as Art

A scene from Nightcrawler, one of the films showing at the Hammer's Contenders series. Image courtesy Hammer Museum.There are too few opportunities to enjoy the art of cinema at its best. It requires an near-miraculous fusion of all the elements, perfectly projected on a big screen to an appreciative audience. If you don't have a private screening room you are limited to the American Cinematheque, and a handful of Academy offerings. To fill the void, the Hammer's Billy Wilder Theater is hosting The Contenders, a series of nine new releases selected by the Museum of Modern Art Film Department. The goal is to show features from around the world that are up for awards and deserve enduring fame. Most have had limited theatrical distribution, crowded out by mindless blockbusters and the endless stream of Hollywood drivel. As a bonus, directors and actors will engage in post-screening discussions. 

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All violent revolutions eat their children, and none was more voracious than the Soviet Union in the Stalin era. The trickle of useful idiots from the West who went to Moscow and extolled the tyrant seemed unaware that he had suppressed an extraordinary generation of artists and was busy murdering real and imagined dissidents. One survivor of that early, creative phase was Dziga-Vertov, the made-up name of a revolutionary moviemaker, who made the first Bolshevik propaganda films, kept his head and his camera through the war years, and outlived Stalin by a year. The UCLA Film and Television Archives are presenting a major retrospective of his work at the Hammer Museum’s Billy Wilder Theater, February 17 - March 3.

Seize this rare chance to see sparkling archival prints of newsreels and documentaries that are as fresh as when they were made, 90 years ago. The popular success of Hugo and The Artist has revived interest in the silent era, when movies had as little need of dialogue as ballet. Live music and a dazzling virtuosity of imagery and cutting were the ingredients for the best movies of that era and Dziga-Vertov was one of the most inspired directors. He was also, like Leni Riefenstahl, a passionate propagandist, building support for an evil regime, but there’s no denying his mastery of the medium. Beyond the formal brilliance is a fascinating portrait of the Soviet Union—not as the squalid backwater it was, but as a heroic beacon for humanity. Lies can be very seductive and it’s hard not to be swept along.

For a schedule and to buy tickets, click here.