Mixed Use: MONO NO AWAREBy Mary Billyou
If 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 WaltzBy Sean Nam
How did an ex-Nazia former intelligence lieutenant to be exactmanage to become Austria's 9th President?
Show Me Your Original Face: On Tsai Ming-liang’s Your FaceBy Sadie Rebecca Starnes
Framed 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.
But Not For Always: Alice Rohrwacher’s Happy as LazzaroBy Gina Telaroli
Alice Rohrwacher's third feature film opens at night, in a mess of muddy, 16mm darkness.
Deep Listening: Mary Helena Clark’s The Glass NoteBy Phil Coldiron
Before 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.