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. They haunt us, and state outright: “This is what human beings are capable of doing”. Works that empower people to speak up about their experiences, like Jennifer Montgomery’s Home Avenue, come to mind—perhaps because I have been … Continue reading Fox Maxy: Framing the Land
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 that voice. High and warbling, yet full and warm, Olsen sounds on Strange Cacti like a time traveler from a century ago, her voice steeped in women’s vocal experimentations from jazz forward. While her sound is reminiscent … Continue reading Angel Olsen: Traveling Towards the Tiniest Light
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 with her iPhone. I was flooded with ideas: what can be learned from pictures of the silver screen? With the technology to take photos in theaters without a long exposure, the projected image can be reimagined and … Continue reading Gina Telaroli: Reimaging
Reflections on Bulky Trash (Helke Misselwitz, 1991) by Elspeth Vischer Reflections on labour and parenting in the final days of the GDR are framed within an interesting dichotomy of music and creative freedom in Helke Misselwitz’s documentary Sperrmüll (Bulky Trash). In her signature intimate and empathetic style, this film charts a rift in political systems, protests, and young people’s allegiances to the GDR in unexpected … Continue reading Helke Misselwitz: Moving East to West Amidst the Sperrmüll
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