Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSNorma Rae.The Academy Foundation Workers Union has approved its first contract, including structured raises, extended leave time, increased job security, and other benefits.Just weeks after the conclusion of the festival, Hot Docs has announced it will lay off staff and temporarily shutter its year-round cinema in Toronto.The Hollywood Commission, chaired by Anita Hill, has introduced an online tool to report workplace abuse in the American motion-picture industry.The organizing wave in New York cinemas continues as the Cinema Village union becomes official. In PRODUCTIONIn his signature direct-oblique style, David Lynch is teasing “something…for you to see and hear,” which “will be coming along” on June 5.REMEMBERINGSuper Size Me.Morgan Spurlock has died at 53. The filmmaker followed his debut feature,...
- 5/29/2024
- MUBI
Cotton Candy. Ernie Gehr dislikes labels. Whether it's being called a “structuralist,” a “filmmaker,” or even an “artist,” he would simply prefer to avoid all of that. “It’s too precious,” he tells me with characteristic humility on the eve of his historic six-part retrospective at the Museum of Modern Art in March. “At the end of the day, I'm just a human being. These labels may be useful to some but meaningless to others. While I am concerned about how things might be perceived, it's ultimately subjective. Like vision.”It’s a fitting statement, considering that few others have explored the subjectivity of vision as thoroughly as Gehr has over his five-plus decades of output, all while employing the most minimal of means. Once described as a “master of reduction” by Peter Tscherkassky, Gehr distills a visual experience into its purest form. His carefully considered 16mm films aren’t...
- 5/22/2024
- MUBI
Once more, and with feeling…
Roxy Cinema
Our 35mm print of Bertrand Bonello’s House of Tolerance has a final screening on Sunday; Spike Lee’s He Got Game and Hoosiers play on prints, while Blonde Ambition screens this Sunday.
Anthology Film Archives
The films of Med Hondo play in a massive retrospective.
Film Forum
Hondo’s West Indies begins screening in a 4K restoration; the Belmondo-led Classe tous risques begins playing in a new 4K restoration; Buster Keaton’s The Cameraman plays with live music on Sunday.
Film at Lincoln Center
The films of Wojciech Has are highlighted in a new series.
Paris Theater
A new retrospective shows just how incredible a year 1974 was: Chinatown, Badlands, Amarcord, California Split, The Conversation, Kiarostami’s The Traveler and more screen, many on 35mm.
Museum of the Moving Image
The Red Shoes screens on Saturday and Sunday.
Museum of Modern Art
The...
Roxy Cinema
Our 35mm print of Bertrand Bonello’s House of Tolerance has a final screening on Sunday; Spike Lee’s He Got Game and Hoosiers play on prints, while Blonde Ambition screens this Sunday.
Anthology Film Archives
The films of Med Hondo play in a massive retrospective.
Film Forum
Hondo’s West Indies begins screening in a 4K restoration; the Belmondo-led Classe tous risques begins playing in a new 4K restoration; Buster Keaton’s The Cameraman plays with live music on Sunday.
Film at Lincoln Center
The films of Wojciech Has are highlighted in a new series.
Paris Theater
A new retrospective shows just how incredible a year 1974 was: Chinatown, Badlands, Amarcord, California Split, The Conversation, Kiarostami’s The Traveler and more screen, many on 35mm.
Museum of the Moving Image
The Red Shoes screens on Saturday and Sunday.
Museum of Modern Art
The...
- 3/22/2024
- by Nick Newman
- The Film Stage
Roxy Cinema
Our 35mm presentation of Bertrand Bonello’s House of Tolerance screens on Saturday and Sunday; Jessica Hausner’s Hotel plays on Friday, as does a Frank Tashlin / Jerry Lewis double-bill of Hollywood or Bust and The Geisha Boy; The Bridges of Madison County and Lenny Cooke play on Saturday, while One Hand Don’t Clap shows Sunday; Red Rock West plays Saturday and Sunday.
Anthology Film Archives
Films by Jean-Luc Godard and more play in Afterimage.
Museum of Modern Art
The essential work of Ernie Gehr plays in a new retrospective.
Film Forum
The Japanese horror series continues with Ugetsu, Throne of Blood, Audition, Godzilla, and more; Chitty Chitty Bang Bang plays on 35mm this Sunday.
IFC Center
The End of Evangelion plays this Sunday; The Big Lebowski, Fight Club, Under the Silver Lake, and The Shining play late.
The post NYC Weekend Watch: House of Tolerance on 35mm...
Our 35mm presentation of Bertrand Bonello’s House of Tolerance screens on Saturday and Sunday; Jessica Hausner’s Hotel plays on Friday, as does a Frank Tashlin / Jerry Lewis double-bill of Hollywood or Bust and The Geisha Boy; The Bridges of Madison County and Lenny Cooke play on Saturday, while One Hand Don’t Clap shows Sunday; Red Rock West plays Saturday and Sunday.
Anthology Film Archives
Films by Jean-Luc Godard and more play in Afterimage.
Museum of Modern Art
The essential work of Ernie Gehr plays in a new retrospective.
Film Forum
The Japanese horror series continues with Ugetsu, Throne of Blood, Audition, Godzilla, and more; Chitty Chitty Bang Bang plays on 35mm this Sunday.
IFC Center
The End of Evangelion plays this Sunday; The Big Lebowski, Fight Club, Under the Silver Lake, and The Shining play late.
The post NYC Weekend Watch: House of Tolerance on 35mm...
- 3/15/2024
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
A retrospective of Denis Villeneuve’s work also brings the director’s programming choices, among them films by Godard, Resnais, Cassavetes, and Wong Kar-wai.
Roxy Cinema
Bob Fosse’s Star 80, The Piano Teacher, The Pillow Book, Looking for Mr. Goodbar, and End of Night all play on 35mm.
Anthology Film Archives
As retrospective of Haitian cinema continues, films by Hollis Frampton and Ernie Gehr play Saturday and Sunday, respectively.
Film Forum
“Sapph-o-rama” continues with films by Nicholas Ray, Jonathan Demme, Lizzie Borden, and more; a 4K restoration of Pandora’s Box has begun a run; a print of The Third Man continues, while the Harold Lloyd film Hot Water shows on 35mm this Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Scorsese, Elaine May, Jonathan Demme, and Gus Van Sant...
Film at Lincoln Center
A retrospective of Denis Villeneuve’s work also brings the director’s programming choices, among them films by Godard, Resnais, Cassavetes, and Wong Kar-wai.
Roxy Cinema
Bob Fosse’s Star 80, The Piano Teacher, The Pillow Book, Looking for Mr. Goodbar, and End of Night all play on 35mm.
Anthology Film Archives
As retrospective of Haitian cinema continues, films by Hollis Frampton and Ernie Gehr play Saturday and Sunday, respectively.
Film Forum
“Sapph-o-rama” continues with films by Nicholas Ray, Jonathan Demme, Lizzie Borden, and more; a 4K restoration of Pandora’s Box has begun a run; a print of The Third Man continues, while the Harold Lloyd film Hot Water shows on 35mm this Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Scorsese, Elaine May, Jonathan Demme, and Gus Van Sant...
- 2/16/2024
- by Nick Newman
- The Film Stage
Each winter, we invite Notebook contributors to take part in our unique twist on the year-end poll. Rather than tally their favorite new releases from the year, they’re asked to creatively pair a new release with an older film they watched for the first time that year: a “fantasy double feature.” We’re delighted by the range of responses this year; this year’s doubles offer up inspired combinations of moving-image art that might otherwise slip through the cracks.We invite you to plunge into this collective viewing scrapbook, which captures our writers at their most imaginative, adventurous, and thoughtful—maybe it'll motivate you to test some of these out (or come up with your own) over the holidays.We hope you enjoy the read, and find our sixteenth year appropriately sweet!{{notebook_form}}Paul AttardNEW: Skinamarink + Old: Room Film 1973Homebound horror films shrouded in darkness, ones that transform...
- 12/23/2023
- MUBI
Shrooms.This year’s edition of TIFF Wavelengths opened with an unannounced extra. It was a 1967 film called Standard Time, an eight-minute series of circular pans around an apartment. The camera speeds up and slows down; it pans right, then left, then right again. Later, the film describes a truncated arc, showing one small section of the flat. Then, the camera pans up and down. Living beings can be glimpsed along the way, most notably a cat perched in a window, artist Joyce Wieland, and a surprise visitor at the end. But they are given the same relative attention as the objects in the space: a TV, a stereo, a cooktop, a blender, and a hutch full of china. Which is to say that all things in the field of the camera’s vision are abstracted, turned into pure painterly velocity.Of course, Standard Time is by Michael Snow, a...
- 9/12/2023
- MUBI
Peter Tscherkassky's Train Again is showing exclusively on Mubi in most countries starting March 3, 2022 in the series Brief Encounters.Again A TRAINIt all began with a wonderful piece of found footage—as is so often the case with my films. Train Again was inspired by a 5-minute roll of 35mm film that a friend had discovered at a flea market and thoughtfully passed my way. It consisted of commercial rushes for our state-owned railway, presenting ten to twelve takes of a train emerging from a tunnel in the distance, gradually approaching and finally reaching the camera which in turn pans with the train as it speeds past and disappears into the distance—at the opposite end of the frame.Aside from the pan, the takes bear an unmistakable similarity to the Lumière brothers' L'Arrivée d'un train en gare de La Ciotat: What begins as a long shot of a...
- 2/28/2022
- MUBI
Back in the Park (2019), courtesy of Ernie GehrEvaluating Mark McElhatten’s recent Carte Blanche screening series at the Museum of Modern Art in terms of pure numbers wouldn’t necessarily be a wrongheaded approach. Eleven feature-length works, 41 shorts, and two excerpts from longer features were programmed in this exceptional series, which certainly lives up to the intensity of McElhatten’s esteemed reputation as a curator—but focusing on such data would be missing the overall point. The breadth of selected titles—which varied between established auteurs and eclectic avant-garde obscurities—feels like an afterthought in terms of the more interpersonal objectives the series sought to accomplish.When McElhatten introduced any of the works, he forwent any (perceived or not) rigidly academic jargon and never attempted to reiterate history; instead, he characterized these titles in earnest terms, speaking to their base impact outside of any ostensibly needed analytical context. Their inclusions,...
- 12/22/2021
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Fox Maxy's Maat Means Land (2020) MoMA has announced the lineup and schedule for “To The Lighthouse,” a thrilling carte blanche program by curator Mark McElhatten featuring new films by Nathaniel Dorsky, Ernie Gehr, Jodie Mack, Dani and Sheilah ReStack, and more, along with older films by Rivette, Joseph H. Lewis, Claire Denis, and Marguerite Duras.An essential annual list, Filmmaker Magazine's 25 new faces of film for 2021 includes Kate Gondwe (the founder of Dezda Films), filmmaker Fox Maxy, Omnes Films (the collective behind Tyler Taormina's Ham on Rye), and others. A24 and Emma Stone’s production company, Fruit Tree Banner, have come together to back Jane Schoenbrun's I Saw The TV Glow. The film, a follow-up to Schoenbrun's debut from this year, We’re All Going to the World’s Fair, follows...
- 10/13/2021
- MUBI
1. After 15 months in pandemic NYC, with no trip out of town longer than six hours during that time, it was imperative to leave and go elsewhere—anywhere—as soon as possible. The easiest way to do this was to pay a visit to James Hansen, a friend who teaches experimental film at Alfred University, logically located in the previously-unknown-to-me town of Alfred, NY. Getting to Alfred, however, is not super simple, so I needed a ride to get from the halfway point of Binghamton to my final destination. Because I try to maximize the value of every visit I take, it […]
The post Parody Pilgrimmage: Five Notes on Ernie Gehr’s Serene Velocity Hallway first appeared on Filmmaker Magazine.
The post Parody Pilgrimmage: Five Notes on Ernie Gehr’s Serene Velocity Hallway first appeared on Filmmaker Magazine.
- 7/19/2021
- by Vadim Rizov
- Filmmaker Magazine - Blog
1. After 15 months in pandemic NYC, with no trip out of town longer than six hours during that time, it was imperative to leave and go elsewhere—anywhere—as soon as possible. The easiest way to do this was to pay a visit to James Hansen, a friend who teaches experimental film at Alfred University, logically located in the previously-unknown-to-me town of Alfred, NY. Getting to Alfred, however, is not super simple, so I needed a ride to get from the halfway point of Binghamton to my final destination. Because I try to maximize the value of every visit I take, it […]
The post Parody Pilgrimmage: Five Notes on Ernie Gehr’s Serene Velocity Hallway first appeared on Filmmaker Magazine.
The post Parody Pilgrimmage: Five Notes on Ernie Gehr’s Serene Velocity Hallway first appeared on Filmmaker Magazine.
- 7/19/2021
- by Vadim Rizov
- Filmmaker Magazine-Director Interviews
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.In 1878, Eadward Muybridge stood atop Nob Hill in San Francisco and took a panoramic picture of the city. It was the same year that he captured a horse in motion, but this was a different type of temporal photograph. He’d developed a new method that mimicked the experience of the human eye rotating 360 degrees, creating a seamless panorama of the city, a still moving picture. This is one place to start a primer on San Francisco on film, at the very beginning. Two decades before the Lumières premiered their first actualities, Muybridge was capturing a portrait of San Francisco in time. As I began researching this primer, Muybridge seemed like a key precedent for many 20th century Bay Area filmmakers. He was an innovator that developed a new technology parallel...
- 1/20/2021
- MUBI
Screening on The Museum of Modern Art’s Virtual Cinema through January 21, Ernie Gehr’s Lower East Side Trilogy combines three of his recent pieces: Autumn (completed 2017), Aproposessexstreetmarket (2018), and Circling Essex Crossing (2018). MoMA describes the trilogy as a sequel to Gehr’s Essex Street Quartet, currently screening in an installation on the Museum’s fourth floor. For Essex Street Quartet, Gehr reshaped footage he had taken some 45 years earlier. The Trilogy comprises new material that documents a rapidly changing Lower East Side. Gehr spoke with Filmmaker by phone from his home in Brooklyn. Filmmaker: How have you weathered the […]
The post "I Work in the Streets — That's My Studio": Ernie Gehr on His Lower East Side Trilogy first appeared on Filmmaker Magazine.
The post "I Work in the Streets — That's My Studio": Ernie Gehr on His Lower East Side Trilogy first appeared on Filmmaker Magazine.
- 1/14/2021
- by Daniel Eagan
- Filmmaker Magazine - Blog
Screening on The Museum of Modern Art’s Virtual Cinema through January 21, Ernie Gehr’s Lower East Side Trilogy combines three of his recent pieces: Autumn (completed 2017), Aproposessexstreetmarket (2018), and Circling Essex Crossing (2018). MoMA describes the trilogy as a sequel to Gehr’s Essex Street Quartet, currently screening in an installation on the Museum’s fourth floor. For Essex Street Quartet, Gehr reshaped footage he had taken some 45 years earlier. The Trilogy comprises new material that documents a rapidly changing Lower East Side. Gehr spoke with Filmmaker by phone from his home in Brooklyn. Filmmaker: How have you weathered the […]
The post "I Work in the Streets — That's My Studio": Ernie Gehr on His Lower East Side Trilogy first appeared on Filmmaker Magazine.
The post "I Work in the Streets — That's My Studio": Ernie Gehr on His Lower East Side Trilogy first appeared on Filmmaker Magazine.
- 1/14/2021
- by Daniel Eagan
- Filmmaker Magazine-Director Interviews
In MemoriamEver since the late eighties French filmmaker Jean-Claude Rousseau has been a name commonly attached to the most adventurous and difficult type of filmmaking. Far from the American, well-established niches of experimental film, he has been working sparsely in Europe (and Japan) for over thirty years becoming a sort of mythological, solitary figure for this continent’s avant-garde. His oeuvre, roughly divided into two periods—the Super 8mm period going from 1983 to 1995; and the video work, still ongoing since 2003—deals constantly with the most primary elements of cinema: composition, movement, trace, and light, as if in every single shot of his films he wanted to make us reconsider what we normally take for granted about these concepts. Nevertheless, much more interested in cinema’s ends than in its mediums, Rousseau’s extremely rigorous but romantic approach to art reminds us less of structuralist filmmakers such as Ernie Gehr or...
- 9/23/2019
- MUBI
A group of international films that seem partially united by the theme of global awareness, this program is more of a mixed bag than most. Sadly, I was unable to preview the first film in the show, 2minutes40seconds, by Han Ok-hee. It’s from 1975, and it is a rare screening of work by the Kaidu Club, a feminist experimental film collective from South Korea. Considering just how little Korean avant-garde film gets screened at all, much less from the seventies, I’d say Han’s film is a categorical must-see.Hrvoji, Look at Your From the TowerRyan Ferko has presented a number of films in festivals past, although those previous entries have been co-directed by Faraz and Parastoo Anoushahpour. They are both listed in the credits of Hrvoji as collaborators, but Ferko is credited as the sole filmmaker, and this in itself is intriguing. Although the trio's films have been quite impressive,...
- 9/9/2019
- MUBI
Part One of this series is about the origin of the Robert Beck Memorial Cinema (Rbmc). Part Two covers all the screenings in 1998.
Continuing into 1999 at the Collective Unconscious theater space in NYC, the Rbmc — co-programmed by Brian L. Frye and Bradley Eros — went on hiatus for the first week of the year, but resumed on January 12. Below is a list of screenings from then until a May 18 event that celebrated the Rbmc’s first full year of existence.
The films and filmmakers selected to screen by Frye and Eros represent an interesting time in the sphere of avant-garde and experimental cinema. Up until this point, there seemed to be a distinct separation between the formal style of, say, structuralism, and the more raucous, punk rock world of the “underground.” However, in the 1990s, these two worlds appear to be colliding. The Rbmc seemed just as content screening Hollis Frampton‘s Critical Mass (Feb.
Continuing into 1999 at the Collective Unconscious theater space in NYC, the Rbmc — co-programmed by Brian L. Frye and Bradley Eros — went on hiatus for the first week of the year, but resumed on January 12. Below is a list of screenings from then until a May 18 event that celebrated the Rbmc’s first full year of existence.
The films and filmmakers selected to screen by Frye and Eros represent an interesting time in the sphere of avant-garde and experimental cinema. Up until this point, there seemed to be a distinct separation between the formal style of, say, structuralism, and the more raucous, punk rock world of the “underground.” However, in the 1990s, these two worlds appear to be colliding. The Rbmc seemed just as content screening Hollis Frampton‘s Critical Mass (Feb.
- 6/17/2018
- by Mike Everleth
- Underground Film Journal
Let the Corpses TanThis year at the Locarno Festival I am looking for specific images, moments, techniques, qualities or scenes from films across the 70th edition's selection that grabbed me and have lingered past and beyond the next movie seen, whose characters, story and images have already begun to overwrite those that came just before.***A camera pans across a beachfront—simple enough, yet as it moves the expanding tumult of water seems to unspool unendingly, stretching and smearing and even more: it wraps around the screen, a sensorium beyond Cinerama and cyclorama akin to Ernie Gehr’s vertiginous coastal flyover-film, Glider (2001). And then another plane is added, a cascade of water from top to bottom, brewing a three dimensional cinematic hurricane in homage to—and in magical reconstruction of—the terrific storm that hit Galveston, Texas in 1900. Stereoscopic images of the storm’s aftermath is but one inspiration for...
- 8/11/2017
- MUBI
Dani Leventhal's PlatonicThis review, I think, might best be understood as an example of “slow criticism.” This is a term coined by Filmkrant editor Dana Linssen to describe “wayward articles,” ones that have a personal or political element that is somehow not timely. We can imagine that the reverse of this is “fast criticism,” the up-to-the-minute report from a film festival, the 140-character response tweeted out the minute the first press screening is over. These thoughts are not timely. The Whitney Biennial closed on June 11th, and the film program screened its final program on May 21st. So although I expect many of these films to have a life long after their appearance at the Whitney, I am not providing any kind of late-breaking news flash from the film or art world by writing about these works in this forum.But in a way, that is the point. Even...
- 8/1/2017
- MUBI
Did You Wonder Who Fired the Gun?May is an interesting time for a film festival. In a sense, the calendar year for cinema is starting over in May, since that’s when two major international festivals occur—Cannes and Oberhausen. Where Cannes showcases the latest work from global arthouse auteurs—your Almodóvars and von Triers and Hanekes and the like—Oberhausen specifically focuses on short films, some of them by the world’s most prominent avant-garde filmmakers. A significant portion of what screens at both Cannes and Oberhausen will set the agenda for other film festivals in the coming year, in terms of which films and filmmakers ought to be shown.San Francisco’s Crossroads happens during May as well, and this puts it in a unique position with respect to other, larger festivals. Artistic director Steve Polta is able to assemble an experimental film festival comprised of older,...
- 5/19/2017
- MUBI
Manuela De Laborde's short film As Without So Within, which has played at the Toronto International Film Festival, won the Grand Prix at Zagreb's 25 Fps Festival, competed for the Tiger at Rotterdam, and will next screen at New Directors/New Films, is an utterly remarkably, vividly calm work that blends sculpture and filmmaking into a cosmic exploration of physical material transformed by the flatness of the cinema screen. Using ingenious objects made by De Laborde that variously resemble moon rocks, bones, and additional unidentifiable shapes, and by filming them against black backgrounds, awash in precise colored lighting and at different scales, these strange pieces loom or are dwarfed, come into or go out of focus and perceptibility. Sometimes the film feels like a kind of astronomic research report, tactile and scientific in its observation, even seemingly scanning or plunging deep the molecular makeup of these evocatively recognizable, yet alien shapes.
- 3/18/2017
- MUBI
New York's Film Forum presents a new 4K restoration of Akira Kurosawa's Ran (1985) from February 26 through March 3, but first, starting on Friday, Chris Marker's A.K., also from 1985 and also restored, sees a week-long run. More goings on: Lizzie Borden's Born in Flames and Regrouping at Anthology Film Archives, witches at Bam, Oscar Micheaux and Spencer Williams at Film Forum, Ernie Gehr at MoMA, Alexander Mackendrick in Paris, Sergei Eisenstein and Jacques Tati in London and what to see at the Glasgow Film Festival. » - David Hudson...
- 2/17/2016
- Keyframe
New York's Film Forum presents a new 4K restoration of Akira Kurosawa's Ran (1985) from February 26 through March 3, but first, starting on Friday, Chris Marker's A.K., also from 1985 and also restored, sees a week-long run. More goings on: Lizzie Borden's Born in Flames and Regrouping at Anthology Film Archives, witches at Bam, Oscar Micheaux and Spencer Williams at Film Forum, Ernie Gehr at MoMA, Alexander Mackendrick in Paris, Sergei Eisenstein and Jacques Tati in London and what to see at the Glasgow Film Festival. » - David Hudson...
- 2/17/2016
- Fandor: Keyframe
The New STYLEThis is the second year that the New York Film Festival has presented Projections, its extensive showcase of experimental film and video that for years had been called Views From the Avant-Garde. The name change (or "rebranding," in the parlance of our ugly times) corresponded, of course, to the departure of longtime programmer Mark McElhatten. Under his stewardship, Views became one of the premiere experimental film festivals in the world, a long weekend of high caliber dispatches from established masters, alongside bracing discoveries by up-and-coming makers whose work somehow caught Mark's eye. His programming partner, Film Comment's Gavin Smith, often brought along selections that complemented Mark's, even as they were out of his usual bailiwick.The Views era was not without its dissenters. Some complained that McElhatten rounded up the usual suspects year after year, sometimes without regard to the relative quality of their latest offerings. Others, most prominently Su Friedrich,...
- 10/2/2015
- by Michael Sicinski
- MUBI
Going UNDERGROUNDEverybody and their dog, it seems, feels this off imperative to try to identify common themes in the handful of festival films they (we) (I) see in a given year. It's the Ghost of Hegel, I suppose, demanding that we make sense of our times by referring to some Zeitgeist. (Zeitgeist? Isn't this just as likely to Strand the FilmsWeLike in some oh-so-precious Music Box, to be unearthed years later by members of some as-yet-unassembled Cinema Guild? But I digress.) There may or may not be tendencies running through this year's feature selections, and if there are, that could have as much to do with the people who selected them than with any global mood. But there does seem to be a generalized turning-inward, with filmmakers making works about themselves and their immediate lives, the cinematic process, and the very complexities of communicating with other human beings. There are...
- 9/17/2015
- by Michael Sicinski
- MUBI
In today's roundup of news and views: Jonathan Rosenbaum on Charles Chaplin, Pedro Costa and Nicholas Ray; Adrian Martin on David Cronenberg; Michael Atkinson on Aleksey German; La Furia Umana on George Miller, Michael Mann, Lewis Klahr and Ernie Gehr; World Picture on Pier Paolo Pasolini, Gregory Markopoulos, Zal Batmanglij, David Lean and Spike Jonze; Parallax View on Luis Buñuel; Jacques Rancière on Chris Marker; Julius Banzon on Tobe Hooper; a batch of articles on Orson Welles; Tony Williams on Mary Pickford; an interview with Monte Hellman; a conversation between Jonas Mekas and Hans Ulrich Obrist—and more. » - David Hudson...
- 7/13/2015
- Keyframe
In today's roundup of news and views: Jonathan Rosenbaum on Charles Chaplin, Pedro Costa and Nicholas Ray; Adrian Martin on David Cronenberg; Michael Atkinson on Aleksey German; La Furia Umana on George Miller, Michael Mann, Lewis Klahr and Ernie Gehr; World Picture on Pier Paolo Pasolini, Gregory Markopoulos, Zal Batmanglij, David Lean and Spike Jonze; Parallax View on Luis Buñuel; Jacques Rancière on Chris Marker; Julius Banzon on Tobe Hooper; a batch of articles on Orson Welles; Tony Williams on Mary Pickford; an interview with Monte Hellman; a conversation between Jonas Mekas and Hans Ulrich Obrist—and more. » - David Hudson...
- 7/13/2015
- Fandor: Keyframe
The KissMuch of my problem with so-called experimental cinema is a matter of language, and my marriage to it as both a viewer and a critic, despite language’s inevitable failure in the face of other forms of meaning. Some of my difficulty is based on background and affinities, some of it exposure and/or familiarity; most is plain obduracy. For whatever reason we may chose to fixate on, I have a hard time letting non-narrative films tell me how to read them beyond the sense I can put into words. After all, I am inarticulate without them.One friend says the trick is to bring the films “down” to the most fundamental ways in which they work, how the pieces may “add up”—but again this is a metaphor, which is of course the premise of language—an arbitrary equation of different things—and awfully teleological in a realm...
- 4/27/2015
- by Ryland Walker Knight
- MUBI
Adieu au langageWhen I stumbled out of the theatre after my first viewing of Jean-Luc Godard’s newest film, Adieu au langage—which will be released on home video by Kino Lorber on April 14—I felt that nagging feeling that only a few films can give. That feeling isn’t necessarily limited to great or even good films, but belongs instead to a certain special, disparate troupe. I left feeling that Godard had made a film that wanted to think about film in some way, aligning itself with the films that made their ways into books of philosophy by film theorists Noël Carroll and Stanley Cavell.Admittedly, there’s a danger in these feelings. Adieu au langage, as well as the whole lot of these “thinking” films, could simply be playfully “meta,” purposefully toying with the conversations that critics and academics love. Maybe I’ve just taken the filmmaker’s bait here,...
- 4/14/2015
- by Zach Lewis
- MUBI
How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2014?
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2014—in theatres or at a festival—and creatively pair it with an old film they also saw in 2014 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2014 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2014—in theatres or at a festival—and creatively pair it with an old film they also saw in 2014 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2014 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
- 1/5/2015
- by Notebook
- MUBI
In a festival whose dedication to celluloid is readily apparent, why not declare it directly? And so one of the Vienna International Film Festival's Special Programs this year is a bastion of that most wonderful format, 16mm film. Programmed by Katja Wiederspahn and Haden Guest with an admirably variegated range, the programs were gathered around collective films, war films, sex films, expanded cinema, and more. Key to the section's expanse, which begins in the 1920s and touches every decade between here and there, is also in highlighting new work done in this increasingly outmoded, "out of date," and unprojectionable format. Included amongst these are films every bit as exciting as the history and canon "Revolution in 16mm" touches on: Jodie Mack's Razzle Dazzle (written about here), Richard Touhy's masterpiece of color Ginza Strip, and, most excitingly, a quartet of new films by Nathaniel Dorsky, the film poet who makes...
- 11/3/2014
- by Daniel Kasman
- MUBI
With so few events during which to premiere new and important avant-garde films in North America—among them, the recently wrapped Wavelengths section of the Toronto International Film Festival, the Ann Arbor Film Fest, and the San Francisco Cinematheque's Crossroads series—the shift that has occurred at this year's New York Film Festival is one well worth noting. This weekend, the inaugural Projects program will debut. Previously known as "Views from the Avant-Garde" and programmed by Mark McElhatten and Gavin Smith (though last year's titanic program was done by McElhatten alone), this sidebar more akin to a festival-inside-a-festival of film and video works has been re-named "Projections" and in its first year is programmed by a returned Smith, Film Society of Lincoln Center's Director of Programming Dennis Lim, and Aily Nash.
The section encompasses 13 programs over a single weekend during the festival, including a handful of feature length films and numerous shorts,...
The section encompasses 13 programs over a single weekend during the festival, including a handful of feature length films and numerous shorts,...
- 10/4/2014
- by Daniel Kasman
- MUBI
April 29
7:30 p.m.
Light Industry
155 Freeman Street
Brooklyn, NY 11222
Hosted by: Light Industry
Although currently an assistant law professor at the University of Kentucky College of Law, Brian L. Frye will be in attendance at this retrospective of his films made between 1999 and 2002. Following the screening, he will participate in a discussion of his work with Chrissie Iles, a curator at the Whitney Museum of American Art.
The full lineup of films screening are listed below with thorough descriptions of each film written by the filmmaker. The majority of his work involves found footage, much of it heavily manipulated. Some films, though, consist of majorly abstracted, but fully original footage.
P.S. Brian L. Frye has the best mustached cat of all time, named The T.J. Hooper, as a companion.
The screening lineup:
The Anatomy of Melancholy, 1999, 16mm, 11 mins
Sometime in the 1960s, a chiropractor from Kansas City...
7:30 p.m.
Light Industry
155 Freeman Street
Brooklyn, NY 11222
Hosted by: Light Industry
Although currently an assistant law professor at the University of Kentucky College of Law, Brian L. Frye will be in attendance at this retrospective of his films made between 1999 and 2002. Following the screening, he will participate in a discussion of his work with Chrissie Iles, a curator at the Whitney Museum of American Art.
The full lineup of films screening are listed below with thorough descriptions of each film written by the filmmaker. The majority of his work involves found footage, much of it heavily manipulated. Some films, though, consist of majorly abstracted, but fully original footage.
P.S. Brian L. Frye has the best mustached cat of all time, named The T.J. Hooper, as a companion.
The screening lineup:
The Anatomy of Melancholy, 1999, 16mm, 11 mins
Sometime in the 1960s, a chiropractor from Kansas City...
- 4/26/2014
- by Mike Everleth
- Underground Film Journal
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2013—in theaters or at a festival—and creatively pair it with an old film they also saw in 2013 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
- 1/13/2014
- by Notebook
- MUBI
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
Below you will find our total coverage of the 2012 Toronto International Film festival, including previews, reviews, and the festival-spanning dialog between our two main critics at Tiff. A few more pieces may be added as they come in.
Wavelengths (P)Reviews
by Michael Sicinski
Part One - The Shorts
Part Two - The Features
Correspondences
between Fernando F. Croce and Daniel Kasman
#1
Fernando F. Croce on Abbas Kiarostami's Like Someone in Love, Michael Haneke's Amour, Harmony Korine's Spring Breakers
#2
Daniel Kasman on Wang Bing's Three Sisters, Christian Petzold's Barbara, Ying Liang's When Night Falls, Ernie Gehr's Departure and Auto-Collider Xv
#3
Fernando F. Croce on Carlos Reygadas' Post Tenebras Lux, Olivier Assayas' Something in the Air, Bernardo Bertolucci's Me and You, Noah Baumbach's Frances Ha
#4
Daniel Kasman on Brian De Palma's Passion, Heinz Emigholz's Perret in France and Algeria, Nathaniel Dorsky...
Wavelengths (P)Reviews
by Michael Sicinski
Part One - The Shorts
Part Two - The Features
Correspondences
between Fernando F. Croce and Daniel Kasman
#1
Fernando F. Croce on Abbas Kiarostami's Like Someone in Love, Michael Haneke's Amour, Harmony Korine's Spring Breakers
#2
Daniel Kasman on Wang Bing's Three Sisters, Christian Petzold's Barbara, Ying Liang's When Night Falls, Ernie Gehr's Departure and Auto-Collider Xv
#3
Fernando F. Croce on Carlos Reygadas' Post Tenebras Lux, Olivier Assayas' Something in the Air, Bernardo Bertolucci's Me and You, Noah Baumbach's Frances Ha
#4
Daniel Kasman on Brian De Palma's Passion, Heinz Emigholz's Perret in France and Algeria, Nathaniel Dorsky...
- 9/22/2012
- MUBI
This week’s Must Read is a rarity: Underground icon Damon Packard being interviewed in a major newspaper, the San Francisco Bay Guardian, on the occasion of his genius new film Foxfur screening at Craig Baldwin’s Other Cinema last night.And, you know it, it’s also not every day an underground film is profiled in the New York Times, so super congrats to director Adam Rehmeier and particularly Rodleen Getsic for this Nyt piece about the controversial nature of their The Bunny Game.Here’s a new “Must Bookmark” blog: A movie journal site by Melanie Wilmink, formerly of the $100 Film Festival, where she now hopes to open up discussion generated by indie films — and she’s doing a fantastic job so far!Also to bookmark: Eric Krasner has a blog regarding his in-progress documentary on legendary Yiddish comedian Mickey Katz.The Huffington Post reports on the totally...
- 9/16/2012
- by Mike Everleth
- Underground Film Journal
September is here again, and it's time to delve into the cinematic bounty of the Wavelengths section of the Toronto International Film Festival, that rambunctious and idiosyncratic corner of the Reitman Machine largely cordoned off from commercial concerns and set aside for lovely and sometimes difficult film art. Despite the ever-changing profile of Tiff, stalwart programmer Andréa Picard has [cue needle-scratching-record sound] What? Yes, last year at this time, the avant-garde community thought we were seeing Ms. Picard leaving this position behind. Fortunately for us all, Tiff won her back.
And this is where things get interesting. Starting with this 2012 edition of the festival, the Wavelengths section is a much more broadly based, festival-wide category. In essence, it now subsumes the old Visions designation, which was Tiff’s home for formally challenging, feature-length arthouse fare. This merger, which may seem like a bit of a shotgun wedding to some, does in fact make sense.
And this is where things get interesting. Starting with this 2012 edition of the festival, the Wavelengths section is a much more broadly based, festival-wide category. In essence, it now subsumes the old Visions designation, which was Tiff’s home for formally challenging, feature-length arthouse fare. This merger, which may seem like a bit of a shotgun wedding to some, does in fact make sense.
- 9/11/2012
- MUBI
Dear Fern,
Here we are indeed—or at least, here we are somewhere, as I've only crossed paths with you once so far amongst the overwhelming number of films—press screened and public—in Tiff's 2012 lineup.
I, too, played “catch-up” the first day, as the greatest resource of Tiff's glut of films (you say “banquet,” I say “glut”!) is the ability for the cinephile who does not get to travel so often, or so far, to see what's been made a big deal of overseas at some festival or another. For you, it was Cannes; for me, lucky enough to have been there and therefore never having to see the Haneke again, it is Berlin, Venice and Locarno.
Thus on my first day was a hard film to top: the new work by Chinese documentarian Wang Bing, whose last feature—and first fiction—The Ditch, I saw the last time I was in Tiff,...
Here we are indeed—or at least, here we are somewhere, as I've only crossed paths with you once so far amongst the overwhelming number of films—press screened and public—in Tiff's 2012 lineup.
I, too, played “catch-up” the first day, as the greatest resource of Tiff's glut of films (you say “banquet,” I say “glut”!) is the ability for the cinephile who does not get to travel so often, or so far, to see what's been made a big deal of overseas at some festival or another. For you, it was Cannes; for me, lucky enough to have been there and therefore never having to see the Haneke again, it is Berlin, Venice and Locarno.
Thus on my first day was a hard film to top: the new work by Chinese documentarian Wang Bing, whose last feature—and first fiction—The Ditch, I saw the last time I was in Tiff,...
- 9/9/2012
- MUBI
Above: Ernie Gehr's Auto-Collider Xv.
The vast bulk of Tiff's 2012 has been announced and listed here, below. We'll be updating the lineup with the previous films announced, as well as updating links to specific films for more information on them in the coming days. Of particular note is that the Wavelengths and Visions programs have been combined to create what is undoubtedly the most interesting section of the festival. Stay tuned, too, for our own on the ground coverage of Tiff.
Galas
A Royal Affair (Nikolai Arcel, Demark/Sweden/Czech Republic/Germany)
Argo (Ben Affleck, USA)
The Company You Keep (Robert Redford, USA)
Dangerous Liaisons (Hur Jin-ho, China)
Emperor (Peter Webber, Japan/USA)
English Vinglish (Gauri Shinde, India)
Free Angela & All Political Prisoners (Shola Lynch)
Great Expectations (Mike Newell, UK)
Hyde Park on Hudson (Roger Michell, UK)
Inescapable (Ruba Nadda, Canada)
Jayne Mansfield's Car (Billy Bob Thorton, USA/Russia)
Looper (Rian Johnson,...
The vast bulk of Tiff's 2012 has been announced and listed here, below. We'll be updating the lineup with the previous films announced, as well as updating links to specific films for more information on them in the coming days. Of particular note is that the Wavelengths and Visions programs have been combined to create what is undoubtedly the most interesting section of the festival. Stay tuned, too, for our own on the ground coverage of Tiff.
Galas
A Royal Affair (Nikolai Arcel, Demark/Sweden/Czech Republic/Germany)
Argo (Ben Affleck, USA)
The Company You Keep (Robert Redford, USA)
Dangerous Liaisons (Hur Jin-ho, China)
Emperor (Peter Webber, Japan/USA)
English Vinglish (Gauri Shinde, India)
Free Angela & All Political Prisoners (Shola Lynch)
Great Expectations (Mike Newell, UK)
Hyde Park on Hudson (Roger Michell, UK)
Inescapable (Ruba Nadda, Canada)
Jayne Mansfield's Car (Billy Bob Thorton, USA/Russia)
Looper (Rian Johnson,...
- 8/22/2012
- MUBI
The 37th Toronto International Film Festival® will roll out the red carpet for hundreds of guests from the four corners of the globe in September. Filmmakers expected to present their world premieres in Toronto include: Rian Johnson, Noah Baumbach, Deepa Mehta, Derek Cianfrance, Sion Sono, Joss Whedon, Neil Jordan, Lu Chuan, Shola Lynch, Barry Levinson, Yvan Attal, Ben Affleck, Marina Zenovich, Costa-Gavras, Laurent Cantet, Sally Potter, Dustin Hoffman, Francois Ozon, David O. Russell, David Ayer, Pelin Esmer, Tom Tykwer, Lana Wachowski, Andy Wachowski, Andrew Adamson, Michael McGowan, Bahman Ghobadi, Ziad Doueiri, Alex Gibney, Stephen Chbosky, Eran Riklis, Edward Burns, Bernard Émond, Zhang Yuan, Michael Winterbottom, Mike Newell, Miwa Nishikawa, Margarethe Von Trotta, David Siegel, Scott McGehee, Gauri Shinde, Goran Paskaljevic, Baltasar Kormákur, J.A. Bayona, Rob Zombie, Peaches and Paul Andrew Williams.
Actors expected to attend include: Bruce Willis, Joseph Gordon-Levitt, Jackie Chan, Tom Hanks, Halle Berry, Bill Murray, Robert Redford,...
Actors expected to attend include: Bruce Willis, Joseph Gordon-Levitt, Jackie Chan, Tom Hanks, Halle Berry, Bill Murray, Robert Redford,...
- 8/21/2012
- by Michelle McCue
- WeAreMovieGeeks.com
By merging the former Visions into the Wavelengths section, Cameron Bailey has essentially made a new incontournable programme. Headed by Andréa Picard, the section which at a time was populated by medium to short run times now includes some of the bigger names in innovative feature film filmmaking who have no qualms about bending the medium. This year the sections includes long, medium and short length works from the likes of Ben Rivers, Athina Rachel Tsangari, Carlos Reygadas (pic of his controversial Post Tenebras Lux above), Wang Bing, Mati Diop (actress from Claire Denis and Antonio Campos films) and our very own writer Blake Williams who makes it two for two at Tiff with Many a Swan – he previously had Coorow-Latham Road programmed last year. Here’s the complete A to Z listing and well-worth reading descriptions.
Pairings
The Capsule Athina Rachel Tsangari, Greece, 37’ A bevy of gorgeous Gothic...
Pairings
The Capsule Athina Rachel Tsangari, Greece, 37’ A bevy of gorgeous Gothic...
- 8/14/2012
- by Eric Lavallee
- IONCINEMA.com
Mekong Hotel, like Uncle Boonmee Recalls His Past Lives before it, absorbs and re-interprets past projects realized (or not) by Apichatpong Weerasethakul. A short feature which bridges the imaginary gap between an unrealized screenplay, meagre means, digital cinema, and a roundabout collection of seemingly unrelated interests, the Thai director once again comes up with something unexpected and something hybrid. Part multi-generational ghost-vampire story (an as-yet unrealized script...here's hoping), part documentary of a hotel on the Mekong river, part (fake?) behind the scenes of a production of...something (the documentary? the genre film?), part excuse to play a wash of relaxing, improvised guitar music across the nearly hour long runtime, the film takes slivers of ideas of high fiction, documentary, actuality and the regional-historic and not so much pares those ideas down as creates with the most limited means suggestions of that which could be and now, paradoxically, is, at a slant.
- 5/18/2012
- MUBI
Photo courtesy of Abby Rose Photography.
This year marked the 50th anniversary of the Ann Arbor Film Festival, which would be a milestone for any cinema-related event in the U.S. But for a festival that has carved out a niche in the area of experimental and avant-garde film and video, Aaff's achievement is especially noteworthy. Even within the rarefied realm of cinephilia, the avant-garde tends to be something on the margins, or even in the best of circumstances (e.g., the Rotterdam, New York, or Toronto film festivals) one part of a much larger whole. So the fact that Ann Arbor and its intrepid citizens have continued to support this strange little festival, and all the bizarre films the festival has thrown their way over the years, speaks very highly of both the town and the festival founders and organizers (many of whom were present for an on-stage birthday ceremony,...
This year marked the 50th anniversary of the Ann Arbor Film Festival, which would be a milestone for any cinema-related event in the U.S. But for a festival that has carved out a niche in the area of experimental and avant-garde film and video, Aaff's achievement is especially noteworthy. Even within the rarefied realm of cinephilia, the avant-garde tends to be something on the margins, or even in the best of circumstances (e.g., the Rotterdam, New York, or Toronto film festivals) one part of a much larger whole. So the fact that Ann Arbor and its intrepid citizens have continued to support this strange little festival, and all the bizarre films the festival has thrown their way over the years, speaks very highly of both the town and the festival founders and organizers (many of whom were present for an on-stage birthday ceremony,...
- 5/7/2012
- MUBI
Via Criterion
"On March 8, 2012, Hollis Frampton went viral," begins Giampaolo Bianconi in Idiom. "The Criterion Collection, in preparation for the release of a long-anticipated Frampton box set [A Hollis Frampton Odyssey], posted a fragment from his 1968 film Surface Tension on Facebook; the clip was picked up by the New York Times blog City Room, and from there it spread. For a second, Frampton was everywhere."
Bianconi notes that some cinephiles objected to the Nyt's fascination with the film as a historical record of the City:
Frampton, though, was not only concerned with the materiality of film with regards to shape and texture, but also with materiality in terms of film being an historical artifact. To watch Surface Tension is to be fascinated by the images of New York, and illegitimizing that point of entry means that a facetious art-for-art's-sake conception of Frampton's work has foreclosed a more complete experience and understanding of the film.
"On March 8, 2012, Hollis Frampton went viral," begins Giampaolo Bianconi in Idiom. "The Criterion Collection, in preparation for the release of a long-anticipated Frampton box set [A Hollis Frampton Odyssey], posted a fragment from his 1968 film Surface Tension on Facebook; the clip was picked up by the New York Times blog City Room, and from there it spread. For a second, Frampton was everywhere."
Bianconi notes that some cinephiles objected to the Nyt's fascination with the film as a historical record of the City:
Frampton, though, was not only concerned with the materiality of film with regards to shape and texture, but also with materiality in terms of film being an historical artifact. To watch Surface Tension is to be fascinated by the images of New York, and illegitimizing that point of entry means that a facetious art-for-art's-sake conception of Frampton's work has foreclosed a more complete experience and understanding of the film.
- 4/27/2012
- MUBI
The Believer's 2012 Film Issue is out and you can sample every essay, interview and list that's in it, though only a handful of texts are online in full. Joshua Jelly-Schapiro, for example, talks with Peter Doig, "a figurative painter whose lush dreamscapes at once evoke his medium's past and suggest the feel of photos and films," who also co-runs the StudioFilmClub in Trinidad: "In an airy old rum factory with a digital projector on one wall, a large screen on another, and a homey bar stocked with coconut water and local Stag beer, he hosts free screenings. Each Thursday night, FilmClub's patrons thrill to independent and art-house films ranging from Killer of Sheep and Klute to — on the night of my first visit a couple years ago — Nagisa Oshima's 1976 classic of sensual obsession, In the Realm of the Senses." You can see more of the flyers Doig's painted for the FilmClub here.
- 3/5/2012
- MUBI
This Week’s Must Look At: The artist book Don’t Kill the Weatherman by Martha Colburn has an online photograph preview and it looks stunning! I love Martha’s animation, but it always moves so quickly that it’s tough to savor the actual art. But, now I can! The above borrowed image is from frames from the film Spiders in Love: An Arachnogasmic Musical, the first Colburn film I ever saw way back in 2000. (If you go to the photo set, you can find details on how to purchase this limited edition.)Craig Baldwin has published issue #22 of Otherzine. You can read the whole thing here. But, two highlights are: An interview with Dominic Gagnon, who is seeking to save “censored” online videos; and curator Brenda Contreras reviews Sylvia Schedelbauer’s found footage film, Sounding Glass.This one’s for Canyon Cinema members only: But if you are one,...
- 3/4/2012
- by Mike Everleth
- Underground Film Journal
Looking back at 2011 on what films moved and impressed us it becomes more and more clear—to me at least—that watching old films is a crucial part of making new films meaningful. Thus, our end of year poll, now an annual tradition, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2011—in theaters or at a festival—and creatively pair it with an old film they also saw in 2011 to create a unique double feature. Many contributors chose their favorites of 2011, some picked out-of-the-way gems, others made some pretty strange connections—and some frankly just want to create a kerfuffle. All the contributors were asked to write a paragraph explaining their 2011 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative...
- 1/5/2012
- MUBI
As year-end rituals go, remembering those we've lost over the past twelve months is the solemn twin of list-making, though it's often no less an act of celebration. In the new issue of the Brooklyn Rail, Charles Bernstein and Susan Bee look back on the life of George Kuchar, "one of the most creative, original, and influential filmmakers of our time, straddling two generations of North American iconoclasts, from Stan Brakhage, Ken Jacobs, Rudy Burckhardt, Kenneth Anger, and Michael Snow to Warren Sonbert, Ernie Gehr, Abigail Child, and Henry Hills. Often collaborating with his twin brother, Mike, George Kuchar started making films as a Bronx teenager, and the brothers' early films already show the ingenuity, exuberance, and do-it-yourself charm that would pervade scores of their subsequent films."
More from Clara Pais in the freely downloadable December issue of One + One, which also features Diamuid Hester on Jacques Tati, Donna K on Brent Green,...
More from Clara Pais in the freely downloadable December issue of One + One, which also features Diamuid Hester on Jacques Tati, Donna K on Brent Green,...
- 12/11/2011
- MUBI
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