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desistfilm

INTREPID PALPITATIONS: AN EVENING WITH SAUL LEVINE

By Tristan Teshigahara Pollack

Enter the fearless imagery of Saul Levine: a couple engages in a carnal session of downwards dog, children play, BB King takes a solo, cacophonous jackhammers resound as media broadcasts become enmeshed with home videos of domestic affairs. What exactly are we observing here? Are these reflections from a schizophrenic?

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desistfilm

PANORAMA: ODAYAKA NA NICHIJO BY NOBUTERU UCHIDA

By Tristan Teshigahara Pollack 

For this year’s Tribeca Film Festival, I found myself in a inevitable quandary: there were too many films to choose from a festival that often gets dubbed the world’s leading cinema commodity. There may be some truth to that claim, however, we can not accuse the festival for dismissing some of the most neglected films in world cinema and (more recently) experimental filmmaking – last year’s festival saw the premier of Amir Naderi’s Cut amongst many other films.

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PANORAMA: AMOUR BY MICHAEL HANEKE

By Catherine  Jessica Beed

It is stark honesty, masterful structural precision and the unflinching portrayal of the horror of humanity that make Haneke’s films such astonishing portraits of us as humans. In confronting the traumas of reality we enter a dialogue in which we ask questions of ourselves, one of those questions may be about how our lives affect others and what we must do in order to protect those things that remain important to us.

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FESTIVAL DE TESALÓNICA 2012: THE LAND OF HOPE DE SION SONO

Por Mónica Delgado

La paranoia de los habitantes ante las consecuencias, la búsqueda de los familiares y la fortuna de la vejez en un entorno pesimista y solitario. Mientras la fisonomía de un pueblo rural se transforma en desierto, también vemos que Sion Sono se vuelve otro, ha mutado, ha dejado de lado su sentido de humanizar desde el grotesco y lo pueril a un Japón moderno, hastiado y pop.

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desistfilm

DESISTFILM’S TOP 50 FILMS OF ALL TIME

To make a list about the best films of all time is in some cases an exhumation process: hidden films to which we have to give a breath of life. In other cases, it is a process of vindicating the old glories beneath the guilty or aesthetic pleasures. In Desistfilm we’ve made a commitment to examine our sensibilities in depth and have built our own sentimental canon: Films without which we couldn’t translate a part of the world.

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