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, […]
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Stream: ‘Gestures’ by Vincent Guilbert
October’s Movie Club stream: GESTURES by Vincent Guilbert
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 […]
Run Towards the Screen, or Reality’s Return: An Interview with Koji Enokido on Shinji Somai
Ed McCarry interviews Koji Enokido, a close collaborator of Shinji Somai, prior to the theatrical release of Typhoon Club.
Five Films by Ellie Epp
A 2-week streaming program of five films by Ellie Epp, alongside an essay by Sophia Satchell-Baeza.
Deciphering Death: An Interview with Kateryna Gornostai
by Sofie Topi The Sarajevo Film Festival has built a tradition of picking up strong upcoming voices from South-East Europe and providing a solid network for promising talents […]
Tokyo Melody: An Interview with Elizabeth Lennard
by Nel Dahl A rare 16mm print of Elizabeth Lennard’s Tokyo Melody: A Film About Ryuichi Sakamoto (1984) has been unearthed from the filmmaker’s basement for a sold-out […]
Dancing Towards Oblivion – The Cinema of Teo Hernández
“I was thinking about the movement of my films that seem to shake in a dream linked to the movements of oblivion: it is an agitated, hallucinated movement, a relentless swing… The shaken film emerges from these bruises: from a confrontation between the filmmaker and oblivion. The theme of my films is oblivion, which is why it is inexpressible.” – Teo Hernández
Naked as the Silence Between Words: On Maryam Tafakory’s ‘Nazarbazi’
Playing with a film history fraught with codes and tensions, Tafakory presents techniques that both conceal and illuminate, prohibit and point towards the forbidden in the same gesture. It is within this strange tension that the erotic emerges.