“Looking at Medina’s earliest work, specifically Semi-auto colours and Time is a sun (2012) reveals much of his ambitious form and preoccupations already set in motion.”
Prismatic Ground 2022: Select Films of Love and Memory
“Both editions of Prismatic Ground have done well in being an inviting festival space for submitting filmmakers, and in turn this allows for the wide array of programming that necessitates the “wave” format. Online and cinematic presentation together means that while enjoyment of this festival will continue worldwide, presentations on projected film prints will become its newest element, intertwining the global availability of the internet and the togetherness of film screenings for those able to attend.”
“What a Way to Run a Railroad”—Nothing is Real, not even Cinema, in Tulapop Saenjaroen’s ‘Squish!’
Over the last decade, filmmaker and video artist Tulapop Saenjaroen has been stretching cinema and the short form. Exploring some of the fundamental quandaries of experience: work, play and freedom with a sharp and puckish sense of their history within this long century of moving images.
Nothingtoseeness
Looking back at December’s ‘NothingtoSeeness’ film program at Akademie der Künste in Berlin, including an excerpt from Gregory J. Markopoulos’ ‘Eniaios’
Exposed Plywood: Lin Tuan-chiu’s ‘The Husband’s Secret’ (1960)
“When Le-hun sobs in the artificial rain, back pressed to a plywood facade, the plainness of the wood’s grain brings the audience closer to the material rather than adding distance: the production and the resulting film seem one in the same, part of an enthusiastic defiance of mass-market cinema in favor of local storytelling.”
‘Autumn Rush for Kurt Kren and Winter and Spring and Summer’ (2003) dir. Anna Thew
A short appreciation of Anna Thew’s bifurcated film of the seasons, ‘Autumn Rush for Kurt Kren and Winter and Spring and Summer’
“A Pirate of Sounds” — An interview with Félix Blume
The works of sound artist and nonfiction filmmaker Félix Blume deal with the interpretative possibilities of aural narratives. From installation sound-pieces built around Thailand’s shoreline, to album releases focusing on Haiti’s funerary traditions, his artistic output always serves as an extension of a wider multimedia project built around sonic tradition.
The Strangely Familiar in Wen-Han Chang’s ‘Strange World’
Strange World (2018) is a short experimental film and photographic series by artist Wen-Han Chang that merges color, light, and ambient sound at a frenetic pace.
Review: ‘To The Moon’ (2020), dir. Tadhg O’Sullivan
by Ruairí McCann One of the most iconic images of early cinema, from Georges Méliès’s Le Voyage dans la Lune (1902), depicts a cylindrical rocket ship lodged in […]
Major Minor Love—On Hong Sang-soo’s ‘Introduction’ and ‘In Front of Your Face’
There’s no standard criterion for deducing the major/minor status of any given Hong Sang-soo film, which occur at such a steady clip that even the usual associative buzzwords––prolific, generous, obsessive, redundant even––fail at even their most basic purpose.