by Alonso Aguilar ‘Baroque’ as an adjective tends to be associated with its Eurocentric styling, that of extravagant, ornate, and occasionally convoluted aesthetics; the quintessential pictorial and aural […]
Howls of Rage: Tracing Martial Law Politics in Lino Brocka’s Cinema
by Vicky Huang Born into a working-class Filipino family, Lino Brocka ascended to fame by shooting studio films—often comic book adaptations—at a dizzying, Fassbinderian pace. Although it raked […]
Living/Drawing/Seeing/Reading Between The Lines: The Films of Lily Jue Sheng
Coinciding with this month’s Movie Club screening of Lily Jue Sheng’s films, we present a text on the excavations and invocations of urban space, language and cultural inheritance found in their work.
Luminent Terrains: Four Windows by Barry Gerson
by Joshua Peinado Barry Gerson, an old master of experimental and structural cinema, has been working prolifically in his late period, in a way not dissimilar to his […]
Light & Matter: An Interview with Gakuryu Ishii
by Nel Dahl In Gakuryu Ishii’s mercurial sci-fi feature film August in the Water (1995), an accomplished young female diver has an accident during a tournament amidst eerily […]
Cinema is a Death Mask: on Theo Montoya’s ‘Anhell69’
by Annie Geng The act of mourning is itself an abstracted one: To mourn is to reach, with an embodied hand, towards what no longer lives in a […]
Fred Camper’s ‘Interactions’ and Meat-Ineffable
by Liam Kenny In Stan Brakhage’s 1994 essay Geometric versus Meat-Ineffable, he establishes two “pictorial extremes of human thought process.” He first outlines what he calls “geometric,” “The […]
The Cost of Thinking: Open City Documentary Festival 2024
Arta Barzanji reports from this year’s Open City Documentary Festival.
Video Upside Down: Ernie Gehr’s Digital Era
Alex Fields on Ernie Gehr’s digital work and the insatiable, playful curiosity in the boundaries of perception, space and light which underpins all of his films.
A Few Bright Spots in the Desert: A Report on the 62nd Ann Arbor Film Festival
Reporting on the Ann Arbor Film Festival, Joshua Peinado writes about some of the high points of this year’s edition.