Film
Mixed Use: MONO NO AWARE
By Mary BillyouIf the words MONO NO AWARE (pronounced a-WAH-ré) sound strange to you, it may be because they come from the other side of the planet: it is Japanese (物の哀れ) referring to a connection with or a yearning for the ephemeral.
A Failure to Respond: On Ruth Beckermann’s The Waldheim Waltz
By Sean NamHow did an ex-Nazi—a former intelligence lieutenant to be exact—manage to become Austria's 9th President?
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Show Me Your Original Face: On Tsai Ming-liang’s Your Face
By Sadie Rebecca StarnesFramed in phone booths, freeways and supermarkets, a Tsai Ming-liang film gazes with moist, unblinking eyes at everyday life—the slightest glint directing us towards the curiosities that line it.
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But Not For Always: Alice Rohrwacher’s Happy as Lazzaro
By Gina TelaroliAlice Rohrwacher's third feature film opens at night, in a mess of muddy, 16mm darkness.
Deep Listening: Mary Helena Clark’s The Glass Note
By Phil ColdironBefore anything for the eyes, the sounds of nature: birdsong, the wind in their homes. This audio continues when there appears some seconds later the image of a Caucasian figure in tight close-up, cropped harshly above the collarbones and below the chin.
