Beginning with The Stolen Man (2007) the Argentinian-born director Matías Piñeiro has made films that I can only describe as tantalizingly in-betweenin between classical elegance and avant-garde jaggedness, workshop and finished product.
This summers career retrospective of Christopher Williams at the Museum of Modern Art (through November 2) includes a marquee-ready photograph that is remarkable in its conceptual simplicityunpretentious and tactile.
In 2012, I made a film about Pasolini inspired by his heresies, his spectacular excesses (the 400 blow jobs in the novel Petrolio), and his mosh-pit destruction of liberal politics (from pro-choice to sexual liberation).
John Paizss Crime Wave debuted at the 1985 Toronto International Film Festival to local acclaim. A Winnipeg-based filmmaker, Paizs had authored a work for which there was no clear precedent: it was decidedly less profane than David Cronenbergs body horror films, which were at the time Canadas most visible cinematic export.