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Q&A

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Q&A

FEATURED FILMMAKER: JEANNE LIOTTA

By José Sarmiento Hinojosa

Jeanne Liotta (New York, 1960) calls herself a “professional amateur”, and beyond that particular declaration there’s more than 30 years of amazing work in different fields of art. Of course, she’s better known as one of the best avant-garde filmmakers of all time, but her intertwined work that consists of installations, photography, field recordings and films transcend the experience of cinema in so many different ways. Desistfilm had a chance to talk to her about her initial “intuitions” as an artist, and how did she adapt to the different formats she ended up working with.

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Q&A

INTERVIEW WITH ERIC AND MARC HURTADO

By Nicole Brenez

Writers, musicians, performers, Eric and Marc Hurtado have worked with Alan Vega, Genesis P-Orridge, Lydia Lunch, and Philippe Grandrieux. For decades, they left us thinking that their splendid films in 8mm, pantheistic odes to the intensities of the world, were the fruits of a symbiotic partnership – until they revealed in 2008 that Marc was only the author at the times where Jajouka’s production required a great creative clarity.

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Q&A

FEATURED FILMMAKER: JENNIFER REEDER

By José Sarmiento Hinojosa

Mother of three, self proclaimed feminist and prolific filmmaker, Jennifer Reeder has slowly shaped cinema into her own little invention, a craft that we can all love, relate to and appreciate. Desistfilm managed to steal some time from her, and we present to you our long and fun conversation.

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Q&A

Q&A: CRAIG BALDWIN

By Mónica Delgado

Craig Baldwin has a special place in found footage and appropriation cinema. Playing an aesthetic bet in the age of copyright, the filmmaker strips this notion naked and transforms it into an object ready to be subverted. This American filmmaker is also an inevitable referent in curations that are involved in archives recovery, like in the spreading of the collage of different calibers. In films like Sonic Outlaws, about cultural piracy, Baldwin shows a number of examples in which the author rights and cultural property regulations haven’t been hand to hand with the current technological revolution. Baldwin uses archival material in a high speed editing, under a provocative style about intellectual property rights as effect of an extreme consumerism. Baldwin talked with Desistfilm about his new projects and the motivations of his experimentation.

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Q&A

Q & A: NATHAN SILVER

By Mónica Delgado & José Sarmiento Hinojosa

Let’s get things straight: Nathan Silver makes cinema in a “family key”, literally. He acts with his parents, his friends become lead characters for his films and his ex-girlfriend isn’t afraid to be directed by him. Overall, he impregnates this familiar game of being and becoming with the humor and complicity of his films. Desistfilm talked with this exceptional New York filmmaker who promises to keep surprising us with an unexplored face of irony.

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Q&A

Q & A: CS LEIGH

CS Leigh and Guillaume Depardieu in the set of Process (2004) By José Sarmiento Hinojosa The enigma of CS Leigh, one of the most obscure

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Q&A

Q & A: AMRIT GANGAR. PRAYOGA, POSSIBILITIES OF CINEMA, CONVERSATIONS AND CONTEMPLATIONS

By Ranjana Raghunathan

Amrit Gangar is a Mumbai-based independent writer, film theorist, curator and historian. He has worked in the field of cinema in various capacities for over three decades. He has written widely on Indian cinema, and co-founded the Mumbai-based film society Screen Unit, which he ran for over twenty years. During those years, he curated a number of programmes and published books.

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Q&A

Q & A: KEN JACOBS

By David Phelps

A symptomatic story of many others internationally at the time, and yet taking to the streets in the most practical way—arming the populace with cameras, audio recorders, and basic editing proficiency—seems a particularly Ken Jacobs-like idea of home movie activism.

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Q&A

PUNK INTERVENTION: A CONVERSATION WITH F.J. OSSANG

Interview by Michèle Collery, Mina Blumenfield and Mónica Delgado

Only rockers love poetry and literature – sometimes you wonder! We speak about rock and roll, I told him that I want to make a film of the classic punk age, haunted by Arthur Craven, the boxer, who traumatized Breton, who also was Oscar Wilde’s nephews . And it all melt between The Clash, the Sex Pistols, Vince Taylor, Arthur Cravan: it all enchanted Strummer. We had drank champagne in a pizzeria and I don’t know what and then he said “Now, we go to the pub.” So here we are, ordered in speed, the producer drank vodka on the rocks, I was gin and tonic, 3 or 4, I don’t remember what he took -we had to ordered fast because they didn’t served after that – thus, we each had our 3 or 4 glasses, we play darts and he says “Ok Ossang, I’ll do your movie!”

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Q&A

Q&A: DAVIDE MANULI

By Mónica Delgado

Davide Manuli (Milan, 1967) might be best known for his last escapade into Rotterdam with “La Leggenda di Gaspar Hauser”, a very particular retake on the classic myth carried to the big screen by Werner Herzog, but this Italian filmmaker has been around since the late eighties’ struggling to find (and finally succeeding) a new narrative in cinema, which responds to the absurd and the warm embrace of dance music as means of communication.

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