Abiba Coulibaly on Mati Diop’s Dahomey and its vision of the museum as a space of colonial consumption & anti-colonial assertion.
Andrew Noren’s Lights and Shadows
Andrew Reichel on the elusive, mercurial & intimate cinema of Andrew Noren.
Beyond Death and Separate(d) from Life: On ‘The Third World from the Sun’
Coinciding with this month’s Movie Club screening of Analú Laferal and Tiagx Vélez’s ‘The Third World After the Sun’, we present an essay on the the film.
AInfection: Generative Artificial Intelligence Infiltrates the Avant-Garde
Olivia Hunter Willke scrutinizes the unlabeled inclusion of generative AI pieces in this year’s Onion City and Ann Arbor experimental film festivals.
Paul Leduc’s Baroque Militancy
Alonso Aguilar on the subversive baroque cinema of Paul Leduc.
Howls of Rage: Tracing Martial Law Politics in Lino Brocka’s Cinema
Vicky Huang on the topographies of class, control and rage in Lino Brocka’s Manila in the Claws of Light (1975) and Insiang (1976).
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
Joshua Peinado on the ecstatic, elemental cinema of Barry Gerson.
Cinema is a Death Mask: on Theo Montoya’s ‘Anhell69’
Annie Geng on Theo Montoya’s Anhell69 (2022) and its radical queer vision of community, resistance and mourning.
Fred Camper’s ‘Interactions’ and Meat-Ineffable
Drawing from Stan Brakhage’s notion of the ‘meat-ineffable’, Liam Kenny writes on Fred Camper’s ongoing Interactions series and its intricate, quotidian webs of perception.