Kapita (2021), Petna Ndaliko Katondolo’s latest film and a selection at this year’s Berlinale (Forum Expanded), is a film about mining – through the mining of film.
Selections from Prismatic Ground: Small Films in a Large World
A global pandemic demands innovation, and over the past year-and-change, we have observed a massive shift in the very idea of what a film festival can be.
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…
Blu Review: Two Silent Films by John Ford (Eureka!)
by Ruairí McCann Produced and released by Eureka Entertainment’s Masters of Cinema line, this new Blu-ray boxset of two early silent John Ford westerns is most welcome. Not only […]
On the (Prismatic) Ground Floor
Founded by Inney Prakash in co-operation with Screen Slate and Maysles Cinema, Prismatic Ground is, in a fashion, the first festival of its kind.
Diaspora and Disappearance: ‘Letter From Your Far-Off Country’ and ‘Maat Means Land’
In our first piece of ‘Prismatic Ground’ coverage, Ruairí McCann compares ‘Maat Means Land’ and ‘Letter From Your Far-Off Country’
The Awkward Altbau – Urban Structures and Dreams of the Future in Konrad Wolf’s ‘Solo Sunny’ (1980)
The destruction of a building: more important than the brief moment of the blast are the hours leading up to the detonation.
Review: ‘Come Here’ (2021) dir. by Anocha Suwichakornpong
“Inherent in the conditions under which it was made, and in it’s strange skirting and shifts there’s an artist testing out several ideas in purposeful denial of a thesis and in a game of constant, formal and spiritual incipience.”
Your Laughter is Spit in the World’s Face: Milla (2017) and Valérie Massadian
“Instead of offering closeted conservative condemnation, or liberal handwringing and outsized guilt, Massadian has been making a cinema of the ‘animal’ intensities and lucidity of childhood and the often debilitating growing pains of young adulthood.”