Film
OUT OF THE PRESENT
Films of the Berlin School at MoMA
By Jaimey Fisher
Rare is the cinematic movement that deliberately forms and labels itself. Lars von Trier and Thomas Vinterberg’s self-consciously performative Dogme 95 aside, most movements are declared by critics and studied by scholars, with the filmmakers in question catching up somewhat post-ipso facto.
In Conversation
JIA ZHANGKE with Zhou Xin
There’s a tendency among recent Chinese independent filmmakers to use classical popular novels in order to address issues affecting contemporary society.
Notes on Daredevils
By Rachael Rakes“Scale is an idea all of its own.” Daredevils is artist, poet, and performer Stephanie Barber’s first feature-length film, and this expanded space becomes a repository for ideas for and about art, and for observations on interaction and interrelation. Here, the excitement of ideas, and of seeing, functions like the rising and falling of serotonin levels, moments of ecstasy leading to inevitably painful ends. Moments bend within that split second when happiness turns into melancholy on contact with the intellect.
A New Resistance: Far From Afghanistan
By Laura PaulWith the U.S. occupation in Afghanistan entering its second decade, and the effects of war extending far past the front line, documentary cinema has done little to help us understand the nature of the occupation at large. This makes Far From Afghanistan valuable in its content as well as its approach.
OF NOMADS AND MIGRANTS To Look Awry: Latin and Spanish Filmmakers Far From Home
By José Miguel PalaciosThese are, above all, spectral presences, those models of the real that the digital image delivers neither as reproduction nor as total simulation, but as something more complex, figures situated in between the lived record of the film image and the endless manual and computerized alterations of the digital image.
