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.
“But I’m a Nice Dude, With Some Nice Dreams” – The Weeknd’s ‘House of Balloons’ Turns 10
It’s important to remember that The Weeknd and House of Balloons were first.
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.”
On Physicality and Proximity or How “Live/Online” Shows Set the Screen for a New Club Culture
“Whether through imperfection, glitches, or plurality, club culture did not die in 2020. No hierarchy intended, with this list I want to highlight some of the most powerful live/online performances.”
Book of Judith
One of my most memorable experiences during lockdown was reading Deadline at Dawn, British critic Judith Williamson’s sparkling collection of essays from the eighties.
On how things actually play out
To be regarded as an artist, as a person, rather than a ‘woman filmmaker’, a ‘woman’.