“The world is not a solid, intractable thing” — An Interview with Jerome Hiler
by Maximilien Luc Proctor I recently had the indelible pleasure of traveling to Frankfurt for a brand new festival called exf f. (Experimental film days Frankfurt). I had been to the same venue in 2019 for a screening that included Nathaniel Dorsky’s latest work at the time, Apricity, so when one of the curators there (Björn Schmitt) got in touch to let me know that … Continue reading “The world is not a solid, intractable thing” — An Interview with Jerome Hiler
‘Women in Revolt’
Women in Revolt is the kind of glorious filth they just don’t — or is it can’t? — make any more. Continue reading ‘Women in Revolt’
Major Minor Love—On Hong Sang-soo’s ‘Introduction’ and ‘In Front of Your Face’
There’s no standard criterion for deducing the major/minor status of any given Hong Sang-soo film, which occur at such a steady clip that even the usual associative buzzwords––prolific, generous, obsessive, redundant even––fail at even their most basic purpose. Continue reading Major Minor Love—On Hong Sang-soo’s ‘Introduction’ and ‘In Front of Your Face’
Re-Introducing Warhol
A new dossier of short texts on the cinematic work of Andy Warhol. Continue reading Re-Introducing Warhol
‘Screen Test: Ann Buchanan’
Ann Buchanan stares back at us across nearly six decades. Continue reading ‘Screen Test: Ann Buchanan’
‘Kiss’
by Ruairí McCann The kiss, that flashpoint of intimacy, communication, and the present tense, has been the subject of art since its prehistory. In Andy Warhol’s Kiss (1963-64), this subject’s ancient roots, straightforward prurience, and its potential for stimulating abstraction can be found in this early example of the artist forging a new cinema: one of ground-breaking casualness and a-causality. Originally conceived and screened as … Continue reading ‘Kiss’
Red Sauce and Sugar Blues – ‘Andy Warhol Eats a Hamburger’
by Tobias Rosen In March, during the most stringent period of Germany’s lockdown, my partner decided to visit her parents for a week and leave me in our apartment in solitary confinement. I was secretly looking forward to a break from our increasingly unbearable habit of watching and being watched while eating. Each morning, our food routine would begin with an elaborate menu plan for … Continue reading Red Sauce and Sugar Blues – ‘Andy Warhol Eats a Hamburger’
Warhol and Morrissey’s Horror Double Feature – ‘Flesh for Frankenstein’ and ‘Blood for Dracula’
by Nel Dahl Low-budget horror cinema’s potential to unexpectedly reverse its initially mixed reception is epitomized by the strange afterlife of Paul Morrissey’s Andy Warhol-produced double feature, Flesh for Frankenstein (1973) and Blood for Dracula (1974). After nearly two decades of censored cuts and derision, the films received an unexpected tribute via Madonna’s “Deeper and Deeper” music video. Warhol star Udo Kier’s voice opens the … Continue reading Warhol and Morrissey’s Horror Double Feature – ‘Flesh for Frankenstein’ and ‘Blood for Dracula’
Riding Lonesome – ‘Lonesome Cowboys’
by Caden Mark Gardner Lonesome Cowboys was shot in the Arizona winter of 1968, a year before Easy Rider became the counterculture crossover hit to polarize America, months before Martin Luther King Jr. and Robert F. Kennedy were assassinated, and months before Andy Warhol survived an assassination attempt from the gun of Valerie Solanas. While Warhol did work on San Diego Surf with Paul Morrissey … Continue reading Riding Lonesome – ‘Lonesome Cowboys’
‘Vinyl’
by Will Sloan It’s cliché to observe that Andy Warhol’s filmography resembles the evolution of cinema itself. Warhol begins, as did Edison and Lumière, with silent films that invite us to wonder at a single visual idea (Sleep, Kiss, Eat). Quickly he introduced sound, color, movie stars, and more conventional visual grammar until finally arriving at Andy Warhol’s Bad (1976), which is so close to … Continue reading ‘Vinyl’
ULTRA DOGME 