Writing for The Brooklyn Rail in July 2015 on the fraught dynamic between experimental film and artists’ moving image for the gallery, filmmaker Roger Beebe expressed an “objection to this relabeling of his practice under an art world rubric.”
After the release of The Turin Horse in 2011, a Nietzsche-inspired drama about the end of days, Béla Tarr vowed to make no more films. While the exhibition at Amsterdam’s EYE Museum doesn’t contain a new feature-length work, it does include a new short film.
An epilogue to a series that began in 2012, Korakrit Arunanondchai’s with history in a room filled with people with funny names 4, boldly inhabits Bushwick’s C L E A R I N G gallery.
Until now, the British filmmaker Terence Davies has always been his own best subject. His first early short films and the subsequent features—Distant Voices, Still Lives, and The Long Day Closes—invented a new kind of cinematic memoir, rendering his rough working-class childhood in Liverpool through a series of complex, formally elegant tableaux and tracking shots.