Xavier Alexandre Pillai writes about Nelson Makengo’s debut feature documentary Rising Up At Night.
Apparitions Strange and Familiar: The Film and Video Works of Nour Ouayda
Coinciding with this month’s Movie Club screening of Nour Ouayda’s THE SECRET GARDEN (2023), we present a text on Ouayda’s oeuvre.
Dancing Towards Oblivion – The Cinema of Teo Hernández
“I was thinking about the movement of my films that seem to shake in a dream linked to the movements of oblivion: it is an agitated, hallucinated movement, a relentless swing… The shaken film emerges from these bruises: from a confrontation between the filmmaker and oblivion. The theme of my films is oblivion, which is why it is inexpressible.” – Teo Hernández
Fox Maxy: Framing the Land
by Laia Nadal I often think about films that, as Susan Sontang would say, are a vast repository of images that make it difficult for us to forget. […]
Angel Olsen: Traveling Towards the Tiniest Light
by Dana Reinoos In 2011, Angel Olsen introduced herself to the public as a woman emerging from the darkness with a Mona Lisa smile, and one who carried […]
Gina Telaroli: Reimaging
by Liam Kenny It was during Light Industry’s showing of William Wellman’s Good-bye, My Lady that I first saw Gina Telaroli take a picture of a cinema screen […]
Squeal Like a Pig—Custodial Violence in Tamil Cinema
“The subject of this essay is custodial violence in Tamil cinema, films produced in the southern Indian state of Tamil Nadu, where over a hundred custodial deaths were recorded in the past two decades without a single conviction.”
Essay: Urban Landscapes and Modernity in Kitchen Sink Realism
In 1962, film critic and theorist Victor Perkins of Movie magazine complained of ‘landscape mongering’ in the English films of the late 1950s/early 1960s – they were part of a movement known as Kitchen Sink Realism.
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…
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.