By Rebecca Naughten
Between 23 – 27 September, the 11th Berwick Film and Media Arts Festival took place in the coastal town of Berwick-upon-Tweed, on the English-Scottish border.
By Tanner Tafelski
Sprayed on a wall near the end of the first part of Gomes’ epic film is the graffiti message: “Chaos is my life.” Shortly, after a countdown, that cryptic statement blasts on the soundtrack. It’s the title of a song by the Scottish punk band, The Exploited, which could work as both a characterization of this film and the state of Portugal during its economic crisis in 2013 and 2014.
By Tara Judah
My third year at Oberhausen was my most confronting yet. Faced with a program that was both moving and frustrating, I am left with a question about what I expect from film, and the highly reputed gatekeeper events we call film festivals.
By Oriana Franceschi
“Val, can you turn on the lights please?” and flash the pool is illuminated. It shines like a sapphire, a bright jewel in the crown of the wealthy family for whom Val works as a maid in comic drama The Second Mother (Que Horas Ela Volta?, Brazil, 2015), directed by Anna Muylaert. She stands on the side with her employer Carlos, his son Fabinho, and her own daughter Jéssica. “It’s the most beautiful thing, isn’t it?” Val sighs to them.
By Tara Judah
I don’t speak Swedish or Dutch. Nevertheless, I saw Roy Andersson’s, En duva satt på en gren och funderade på tillvaron (2014), a Swedish language film, with Dutch subtitles, at IFFR.
By Tara Judah
Watching Juan Daniel Molero’s Videofilia (Y Otros Síndromes Virales, Peru 2015), I experienced the kind of excitement that only the rare blend of aesthetically, intellectually and viscerally piercing cinema can elicit. The experience was so intense that, for me, it was as hot as sexual anticipation and as terrifying as the thought of not resolving that excitement with orgasm.
By Tara Judah
Rights holders will always play a part in taste making. But, even as they set the goal posts, others, born of passion and determination, defend and strike back. Sometimes they succeed. We owe these people a great debt of thanks because without them we would never see the likes of Walérian Borowczyk’s Docteur Jekyll et les Femmes.
By Tara Judah
The image appears to be static, more so since 0s and 1s replaced photochemical film. But even if it is technically sealed, it remains unstable. An image is always in conversation; its referent and meaning are forever in a state of flux.
By Tristan Pollack Teshigahara
9/23/14: Week 2/Two Days, One Night
Brothers Jean-Pierre and Luc Dardenne are amongst the most socially conscious filmmakers in global cinema today. Their second feature, Rosetta (1999), gave rise to a new labor law that would protect adolescent workers in Belgium.
By Tristán Pollack Teshigahara
9/16/14: Week 1/Adieu au Langage
Alternatively, Adieu au langage (2014), the latest effort from the prolific New Wave veteran Jean-Luc Godard, is precisely what it purports to be: a work of art that literally eschews cinematic meaning. Seldom has there been a filmmaker who has truly probed the 3D format and deconstructed it to its barest essentials.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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