By Tara Judah
My first encounter with The Forbidden Room was at the Berlinale. We met again at LFF (London Film Festival). In London it played at the BFI IMAX, and it was different. Not only because it was so much bigger, but because Maddin had made it shorter, too.
By Tess L. Takahashi
Alexandre Larose is a Montreal-based filmmaker, and has screened work at venues like Projections (NYC), Wavelengths (Toronto), Images Festival (Toronto), Media City (Windsor), the Oberhausen Short Film Festival, and the International Film Festival Rotterdam. He has also produced the installation Round Trip at the Eastern Bloc in Montréal (in collaboration with Heather Reid) and has made numerous experimental shorts including 930 (2006), Le Corps Humain (2006), Artifices #1 (2007), La Grande Dame (2011), and j (2008, co-directed with Solomon Nagler).
By Pamela Cohn
Direct Approach is an art project as well as a practical working method on how to talk about violence and, through memories of violent scenes in film, creatively, theoretically and practically work with the themes surrounding it. Jacobsen has collected “statements of violence” shared by several different people of all ages and walks of life here in Berlin that she’s approached and asked to participate.
By Pamela Cohn
Jan Soldat’s documentary work is the purest storytelling I’ve seen in cinema. What might blur or mar this purity, at first blush, is the subject matter he tends to choose. But like many filmmakers I’ve spoken to, he uses his craft in order to search, to seek and to satisfy his own unending curiosities about his fellow human beings.
By Pamela Cohn
Czech filmmaker Veronika Lišková followed Daniel for one year as he introduces his family, friends, and the society in which he lives into his world living as a pedophile. An exceedingly empathetic and human-scale story, Daniel’s World captures both the public and private moments of his confessions.
By Julian Ross
Just two years ago, Peter von Bagh (1943-2014) was the subject of a Signals retrospective programme at the 41st International Film Festival Rotterdam. I’m ashamed to say I had never heard of him before. But the idea of a reverse Pickpocket in the form of Pockpicket eli katkelmia helsinkilaisen porvarisnuoren elämästä (Pockpicket – Recollections of a Helsinki Bourgeois Youth, 1968) intrigued me and I headed to the cinema.
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.
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.
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.
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.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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