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Rotterdam

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En español

ROTTERDAM 2015: A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE BY ROY ANDERSSON

By Tara Judah

Though I am sure the dialogue is filled with nuanced witticisms – Andersson is known for his deadpan humor – every frame is a carefully composed artwork. His painterly compositions are captivating and, after some early frustration at my compulsion to read the subtitles I couldn’t understand, I found it liberating to exclude language from the experience. I looked more pointedly at the images and I noticed things I think I would have missed, on a first viewing, at least.

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Film Festival Reports

ROTTERDAM: VIDEOFILIA (AND OTHER VIRAL SYNDROMES) BY JUAN DANIEL MOLERO

By Tara Judah

Watching Juan Daniel Molero’s Videofilia (Y Otros Síndromes Virales, Peru 2015), I experienced the kind of excitement that only the rare blend of aesthetically, intellectually and viscerally piercing cinema can elicit. The experience was so intense that, for me, it was as hot as sexual anticipation and as terrifying as the thought of not resolving that excitement with orgasm.

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Film Festival Reports

ROTTERDAM: CRITICS’CHOICE. DOCTEUR JEKILL ET LES FEMMES

By Tara Judah

Rights holders will always play a part in taste making. But, even as they set the goal posts, others, born of passion and determination, defend and strike back. Sometimes they succeed. We owe these people a great debt of thanks because without them we would never see the likes of Walérian Borowczyk’s Docteur Jekyll et les Femmes.

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Rotterdam

ROTTERDAM 2015: CRITICS’CHOICE. DOCTEUR JEKILL ET LES FEMMES

By Tara Judah

Adrian Martin and Cristina Álvarez López cast their critical eyes across Borowczyk’s (wilfully) forgotten surrealist stunner and created their own audio-visual work, one that I like to think of as the illegitimate lovechild of Edward Hyde and Miss Osbourne, post-bathtub transformation.

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Film Festival Reports

ROTTERDAM: CRITICS’ CHOISE. LIFE ITSELF

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.

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