In his latest work, (Third Study for) Swedge of Heaven (2020), multi-disciplinary artist Richard Forbes-Hamilton presents us with the precise image of his beat: a digitally animated individual with an oversized yellow whistle for a head – complete with a stoic ‘have a nice day’ smiley for a face – arrhythmically pounding on a drum with glow sticks.
Review: ‘To The Moon’ (2020), dir. Tadhg O’Sullivan
by Ruairí McCann One of the most iconic images of early cinema, from Georges Méliès’s Le Voyage dans la Lune (1902), depicts a cylindrical rocket ship lodged in […]
“The world is not a solid, intractable thing” — An Interview with Jerome Hiler
by Maximilien Luc Proctor I recently had the indelible pleasure of traveling to Frankfurt for a brand new festival called exf f. (Experimental film days Frankfurt). I had […]
‘Women in Revolt’
Women in Revolt is the kind of glorious filth they just don’t — or is it can’t? — make any more.
Major Minor Love—On Hong Sang-soo’s ‘Introduction’ and ‘In Front of Your Face’
There’s no standard criterion for deducing the major/minor status of any given Hong Sang-soo film, which occur at such a steady clip that even the usual associative buzzwords––prolific, generous, obsessive, redundant even––fail at even their most basic purpose.
Vested Interest – ‘My Hustler’
by Luise Mörke “I could introduce you to people… interesting people,” Ed Hood’s character in My Hustler (1965) promises the object of his desire (Paul America) in exchange […]
‘Vinyl’
by Will Sloan It’s cliché to observe that Andy Warhol’s filmography resembles the evolution of cinema itself. Warhol begins, as did Edison and Lumière, with silent films that […]
Riding Lonesome – ‘Lonesome Cowboys’
by Caden Mark Gardner Lonesome Cowboys was shot in the Arizona winter of 1968, a year before Easy Rider became the counterculture crossover hit to polarize America, months […]
Warhol and Morrissey’s Horror Double Feature – ‘Flesh for Frankenstein’ and ‘Blood for Dracula’
by Nel Dahl Low-budget horror cinema’s potential to unexpectedly reverse its initially mixed reception is epitomized by the strange afterlife of Paul Morrissey’s Andy Warhol-produced double feature, Flesh […]