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John Waters admitted in an interview in these pages last month that its something of a hook for the New Museum to show his three early short films dating from 1964-68 at the John Waters: Change of Life retrospective of his visual art at the New Museum of Contemporary Art.
Whats most intriguing about director Lone Scherfigs first post-Dogme 95 feature, the admittedly appealing Wilbur Wants to Kill Himself, is where and how it falls short.
But rather than surveying Polish Women Artists Films of the 70s and 80s as a whole, I want to look closely at how the films of three of the artist-filmmakers, Zofia Kulik, Ewa Partum, and Teresa Tyszkiewicz, offer particular insight into an international dialogue about the possibilities of the body in art during these two decades.
Soon after the polished self-congratulatory Oscar silliness in Hollywood, in little old New York its the time to see unpolished underground cinema.
Taiwanese director Hou Hsiao-hsiens films are meticulous, slow meditations on facets of Chinese life. His films methodically contemplate the temperament of individual moments, of time slowed down. They possess an almost formalist logic that calls to mind the work of Cézanne Hsiao-hsien is as much artist as narrative filmmaker.