This past July a friend invited me to Spectacle Theater to see a screening of work entitled Sequence 01 by a traveling micro-cinema called NO EVIL EYE, which originated in Columbus, Ohio. According to the Spectacle description of the screening, they are a radical micro-cinema that aims to redefine the creative and social parameters of non-metropolitan film scenes.
For all the shifts in the festival landscape over the last year, the 72nd Locarno Film Festival proved far less of a departure than initially expected. With former festival head Carlo Chatrian and his programming team having moved to the Berlin Film Festival and the equally experimentally-minded Paolo Moretti now at the helm of Directors Fortnight in Cannes, the question was how these curatorial changes might affect the traditionally cutting-edge Swiss festival.
The process of identification is at the heart of Gilberto Perezs posthumously published book The Eloquent Screen: A Rhetoric of Film. Perez writes that audiences identify with more than characters, we identify with an action, a situation, an emotion, a motive, an interest, a point of view, something the character represents.