Neocolonial Grip: Ousmane Sembène’s ‘Tauw’ (1970) + Djibril Diop Mambéty’s ‘Le Franc’ (1994)
Currency takes even more of a centre stage in some of their lesser-known shorts steeped in acute political commentary: Le Franc (1994) and Tauw (1970) respectively, which delve deeper into many of the context-specific issues of cash—and lack thereof—in Francophone Africa, exposing the incomplete nature of the decolonial project. Continue reading Neocolonial Grip: Ousmane Sembène’s ‘Tauw’ (1970) + Djibril Diop Mambéty’s ‘Le Franc’ (1994)
Cinema is an Open String: Two Early Shorts by Isiah Medina
“Looking at Medina’s earliest work, specifically Semi-auto colours and Time is a sun (2012) reveals much of his ambitious form and preoccupations already set in motion.” Continue reading Cinema is an Open String: Two Early Shorts by Isiah Medina
Master and Slave (Masculine) Morality: ‘Nishant’ (1976)
Anand Sudha writes about oppression and revolution in Shyam Bengal’s Nishant. Continue reading Master and Slave (Masculine) Morality: ‘Nishant’ (1976)
Translation: Interview with Robert Kramer
Christian Flemm translates a Cahiers du Cinema interview with Robert Kramer on the occasion of the filmmaker’s birthday. Continue reading Translation: Interview with Robert Kramer
Bodies De/Materialising: “Passion – Pause – Desire” in Frieda Liappa’s ‘Love Wanders in the Night’ (1981) and ‘The Years of the Big Heat’ (1991)
Ioannis Andronikidis traces the importance of passion, pause and desire through two works by the Greek filmmaker, referencing Audre Lorde, Clarice Lispector and Alain Resnais along the way. Continue reading Bodies De/Materialising: “Passion – Pause – Desire” in Frieda Liappa’s ‘Love Wanders in the Night’ (1981) and ‘The Years of the Big Heat’ (1991)
Prismatic Ground 2022: Select Films of Love and Memory
“Both editions of Prismatic Ground have done well in being an inviting festival space for submitting filmmakers, and in turn this allows for the wide array of programming that necessitates the “wave” format. Online and cinematic presentation together means that while enjoyment of this festival will continue worldwide, presentations on projected film prints will become its newest element, intertwining the global availability of the internet and the togetherness of film screenings for those able to attend.” Continue reading Prismatic Ground 2022: Select Films of Love and Memory
“What a Way to Run a Railroad”—Nothing is Real, not even Cinema, in Tulapop Saenjaroen’s ‘Squish!’
Over the last decade, filmmaker and video artist Tulapop Saenjaroen has been stretching cinema and the short form. Exploring some of the fundamental quandaries of experience: work, play and freedom with a sharp and puckish sense of their history within this long century of moving images. Continue reading “What a Way to Run a Railroad”—Nothing is Real, not even Cinema, in Tulapop Saenjaroen’s ‘Squish!’
Nothingtoseeness
Looking back at December’s ‘NothingtoSeeness’ film program at Akademie der Künste in Berlin, including an excerpt from Gregory J. Markopoulos’ ‘Eniaios’ Continue reading Nothingtoseeness
Exposed Plywood: Lin Tuan-chiu’s ‘The Husband’s Secret’ (1960)
“When Le-hun sobs in the artificial rain, back pressed to a plywood facade, the plainness of the wood’s grain brings the audience closer to the material rather than adding distance: the production and the resulting film seem one in the same, part of an enthusiastic defiance of mass-market cinema in favor of local storytelling.” Continue reading Exposed Plywood: Lin Tuan-chiu’s ‘The Husband’s Secret’ (1960)
Natural Selection: Five Films by Larry Gottheim
curated by Your Fellow Traveler, Ruairí McCann and Maximilien Luc Proctor / images courtesy of Larry Gottheim and Your Fellow Traveler Made in 1987, The Red Thread is a film by American avant-garde filmmaker Larry Gottheim. Its title not only refers to a literal thread but a conceptual one, woven throughout his body of work—and indeed, life. It is also the title of his completed … Continue reading Natural Selection: Five Films by Larry Gottheim
ULTRA DOGME 