Coinciding with this month’s Movie Club screening of Nour Ouayda’s THE SECRET GARDEN (2023), we present a text on Ouayda’s oeuvre.
Loneliness and Longing: When the Apocalypse is Over
Winnie Wang writes about “When the Apocalypse is Over” — a series of contemporary films from the Philippines opening this February at BAM.
The Scale of Being: Linnea Nugent’s Haptic, Semi-Handmade Images
An introduction to the work of New York filmmaker Linnea Nugent, streaming Dec 8-22 in the Movie Club.
Mambar Pierrette: All of Cameroon’s Cares on Her Shoulders
by Abiba Coulibaly Mambar Pierrette continues Roisin Mbakam’s exploration of the confessional function offered by informal businesses and the entrepreneurial African women who man them—following the thread of […]
Spirits Rebel: On Julius-Amédée Laou’s Cinema of Revenants
by Ruairí McCann In his poem, Cahier d’un retour au pays natal (1939), Aimé Césaire, through the painful, rocky passage back and forth between Africa, Martinique and France, […]
Celluloid Now, More Than Ever
by Olivia Hunter Willke On my way home from the first program of the all-analog avant-garde film festival organized by the Chicago Film Society, Celluloid Now, I received […]
Looking for Clues: Mary Helena Clark’s First Films
by Sam Warren Miell At a certain point in the career of an artist, early work will begin to be regarded as a repository of clues to understanding […]
Oil and Water: Three Films by Nikos Nikolaidis
by Dylan Adamson At about the half hour mark of Nikos Nikolaidis’ Morning Patrol (1987), the unnamed lead character wanders into an empty movie theater, drawn by the […]
The Raw and the Cooked: Larry Gottheim’s ‘Corn’ (1970)
Corn captures a static, but never contained view of an ordinary moment in the kitchen, accounting for the ways in which evening sunlight falls into the room and emanating vapor textures the air.