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Q&A

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Q&A

Q & A: JOHAN GRIMONPREZ

By Pascale Cassagnau

The images of the world, of reality, that televison returns, report of an indirect echo, of a real taken for second degree: the immediate history is mediated through the reflection of the image of reality, as a fiction of reality. The cinema of Johan Grimonprez demonstrates this loop, asking in its recent projects what Hitchcock’s cinema offered to television.

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Q&A

Q & A: ALEX COX

By John A. Riley and Mónica Delgado

“I’d like to shoot a different ending for Sid and Nancy, too. But I’m less fond of that film. Straight to Hell was always one of my favourites and revisiting it, playing around with it, making it more bloodthirsty and giving it a different colour treatment and more skeletons and reinserting the deleted scenes… it was a real treat”.

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Q&A

Q&A: SYLVAIN GEORGE

By José Sarmiento y Mónica Delgado

The mastermind behind the dyptich “Qu’ils Reposent En Révolte (Des Figures De Guerre)” and “Les Éclats (Ma Gueule, Ma Révolte, Mon Nom)” has just released his new documentary “Vers Madrid” in which he returns to the social problems of the new Europe, now focusing in the 15-M movement in Spain. He shared some words about it and his body of work with Desistfilm.

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Q&A

Q&A: DAVID GATTEN

By David Phelps

The word outstrips the sentence, and the design outstrips the system: the virtual text takes on compositional weight, and the flattened colors of flattened digital take on a variegated texture across the screen. As an ultra-virtual movie, it turns itself inside out; what’s left is simply what’s there. I talked with Gatten around midnight last October at Views from the Avant-Garde in New York, a couple nights after the movie’s premiere.

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Q&A

Q & A: CHRISTELLE LHEUREUX

By José Sarmiento Hinojosa

“Yes, the white disease is eating us everyday. Time is changing everything, everything disappears and fades and it’s ok, that’s life… The question is more to be aware of what we are loosing and what we are getting new. Our spirituality is changing super quickly, even in just one generation. I think cinema has a lot to do with that question of time, because this medium deals mostly with memory”.

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Q&A

Q&A: JOANA PREISS

By José Sarmiento Hinojosa

“Sibérie is one of the main characters of the film for all the reasons you describe. It’s like a mirror with of the raw and honest meditation of love, it’s a perfect décor for this “triste geographie des sentiments”, and the train helped us to have this kind of lonely feelings, increased by our “huis clos” inside the Trans cabin, in front of the big window, on the exterior as a big travelling shot with the immensity rugged inhabited landscapes”.

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Q&A

Q & A: LAV DIAZ

By Jan Philippe V. Carpio

It’s a great time for filmmaking again. You can articulate things again through cinematography. Before, with the advent of the Panasonic DVX and the P2, the lens is steady, you can’t change things unless you go for lens adapters. This time it’s free for all. The companies are coming out with great cameras. It’s a revolution. It’s up to you how you use them.

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Q&A

Q&a: MONIEK TOEBOSCH

By Max J. Pell

Moniek Toebosch (Breda, 19 august 1948), the famous Frans Zwartjes diva, is the daughter of classical composer Louis Toebosch. A Dutch performance artist and actress, Toebosch has been working as a professor and giving workshops in her foreign country for over 40 years. She was director of Dasarts theatre of the AHK (Amsterdam College of Arts) from 2004 to 2008. Here, Max J. Pell, from Texas, shares pieces of his correspondence with her.

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Q&A

Q&A: THUNSKA PANSITTIVORAKUL

By Mónica Delgado

Thunska Pansittivorakul was born in Bangkok in 1973. His films have been screened at over 100 international film festivals, including Berlinale, International Film Festival Rotterdam and the Hong Kong International Film Festival. His documentary ‘Happy Berry’ won the Grand Prize award at The 4th Taiwan International Documentary Festival 2004. ‘Heartbreak Pavilion’ won the Top Award from Pusan Promotion Plan (PPP) at The 10th Pusan International Film Festival 2005.

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Q&A

Q&A: BILL MORRISON

By Mónica Delgado, Narda Liotine, José Sarmiento Hinojosa

Bill Morrison (Chicago, 1965) is one of the most important experimental filmmakers today, especially in the found footage vein. His first full-length feature Decasia (2002) became a milestone in this style of experimental cinema, not only for his use of special techniques in the celluloid format, but also for becoming an inspiration for future works. Decasia dwells in exploring film decay, the decomposition of the image medium, a decayed body that has something to show still. Talking about this and other works, Bill Morrison answers some questions from our staff.

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