Essay: A Time For Many Words – Canon Formation, National Unity and ‘The Travelling Players’

Invariably, any appraisal of Theodoros Angelopoulos’ 1975 film The Travelling Players makes note of its length—230 minutes, to be precise—as well as it’s ostentatious style—it consists of just 80 shots, almost all of which are sequence shots and hardly any are tighter than a medium close-up. Continue reading Essay: A Time For Many Words – Canon Formation, National Unity and ‘The Travelling Players’

Lucrecia Martel: Four Feature Films

A teenage girl lies on a towel, stealing glances at a man swimming in an indoor pool. The man, who might be her mother’s age, whips around as if sensing someone’s gaze and the girl flinches out of sight, slipping as she does into prayer — intoned and feverish, like an incantation: mother most chaste mother most pure mother without fault… Continue reading Lucrecia Martel: Four Feature Films

Essay: There’s no democracy of hands but there are many hands in a democracy: ‘City Hall’ (2020) and ‘Her Socialist Smile’ (2020)

To look at the design and flaws of American politics and democracy, Wiseman chooses an entire city and its system as his focal point. Gianvito, on the other hand, chooses a single individual, whose life nevertheless encapsulated a tumultuous early 20th century. Continue reading Essay: There’s no democracy of hands but there are many hands in a democracy: ‘City Hall’ (2020) and ‘Her Socialist Smile’ (2020)

The Value of Intimacy – ‘Divine Love’ and the corporeal cinema of Gabriel Mascaro

by Alonso Aguilar In the oppressive temperatures of rural Brazil, bodies traverse the screen unceremoniously. Detached and absent-minded, different characters go through the motions of hard labor, unfazed by the thick layers of sweat drenching every inch of their clothes. They’re physically present, yet their minds are clearly elsewhere, refusing to be shaped by what they consider to be arbitrary circumstances. Eventually, their shifts end … Continue reading The Value of Intimacy – ‘Divine Love’ and the corporeal cinema of Gabriel Mascaro