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.
By José Sarmiento Hinojosa
It is impossible not to think about Pink Floyd’s Dark Side of the Moon when experiencing the light decomposition spectacle that ensues Jodie Mack’s “Let your Light Shine”.
It’s difficult to verbalize, yet along write about the experience that signifies watching Mónica Savirón’s Broken Tongue. It’s as shocking as it is compelling, yet somehow disorienting and unnerving, enchanting and disturbing.
By José Sarmiento Hinojosa
The sound of impending apocalypse, properly designed by Zach Leyton, is a proper background for Jeanne Liotta’s latest work, which feeds from JG Ballard’s “The Drowned World” and features Liotta’s trademark obsession for all things cosmos.
Por Mónica Delgado
Este cortometraje del serbio Vladimir Peresic fue presentado en el reciente festival de Cannes dentro del largo Bridges of Sarajevo, film ómnibus que reúne una serie de trabajos en torno al concepto de la guerra y la nueva identidad europea en el centenario de la primera guerra mundial, con trabajos resaltantes de Cristi Puiu y Jean-Luc Godard.
By Tara Judah
In 2013, I saw Dirk de Bruyn’s short film WAP at the Revelation Film Festival in Perth. In terms of its formal experimentation, the film evokes Martin Arnold’s Cinemnesis. Thematically, it takes a critical eye to the White Australia Policy, scrutinising what the policy promised new migrants with one hand while systematically refusing with the other.
By Tara Judah Unlike narrative feature films, experimental shorts refuse to be boxed in by ‘must-see’ or ‘must avoid’ festival buzz and reviewer hyperbole. Instead,
By Mónica Delgado
Under the impulse of the Commision for the First World War Centenary, thirteen filmmakers of different nationalities get together in Les ponts de Sarajevo, to gaze history from a review of the Sarajevo crisis and its geopolitical location of transit or limbo, from the past to the future, from memory to oblivion. But not all the tone of this series of shorts, in some cases very uneven, is marked by grief, historical essay or solemn view, but there’s also a space for humor and irony, as part of that «balcanic» spirit.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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