per: Narda Liotine

Uno dei modi migliori per indagare le relazioni interpersonali è analizzare i pasti. Evitando quelli solitari, frugali e scomposti, preferiamo quelli affollati e i tête-à-tête. Il regista surrealista ceco Jan Svankmajer -dal seminale Dimensioni del dialogo (Možnosti dialogu, 1982) passando per il più recente Meat Love (1989) – ci insegna che consumare un pasto in compagnia può portare a scontri e contrasti. Nella sua riflessione artistica i tavoli da pranzo e le stoviglie sono creati per generare tanto l’armonia quanto il caos, ritenendo il primo come una possibile conseguenza del secondo.

By Jan Philippe V. Carpio

Perhaps in no other art form (and other art forms may disagree with this) do cinema’s practitioners constantly choose (and it is a seldom choice) to wage war with the tyranny of audience expectations. To perpetuate the tyranny of the regime, audiences usually possess five (of many) insidious weapons – immaturity, indifference, arrogance, laziness, distraction – which cinema’s practitioners engage with experience, involvement, humility, dedication, focus. These perpetual wars seem to stem from practitioners and audiences differing perceptions of cinema and its uses. And it is here, on one of the many battlefields of perceptions, where Tom Noonan’s What Happened Was … wages its delicate and covert war.

By Sarah Nichols

I won’t bore you with the milkshake. I was asked to write on a film that had changed my life, and while I came here planning to write about Vertigo, I realized that while it had changed my life—perhaps in ways that I cannot even articulate to myself—it had never inspired me to write poetry. There Will Be Blood has.