4 items from 2013
Portuguese maestro Pedro Costa came to the UK at the beginning of October, 2012. He initially arrived in Cambridge University for a screening of the sublime In Vanda's Room, then he traveled down to the capital to take part in a pair of Q&As following presentations of the newly remastered Second Run DVD release of Casa De Lava and a 35mm print of Ne change rien. As Ne change rien played, I sat and waited with Costa in the bar of London's Ica cinema and, with a tape rolling on the table, we started to talk.
David Jenkins: How does the projection look?
Pedro Costa: It's great. It must be the projectionist. The sound and the image are perfectly balanced. The other day I got hold of the first Dcp of Historic Centre and the girl who screened our test was the popcorn girl. Which is okay, but. »
- David Jenkins
Below you will find our total coverage of the 2012 International Film Festival Rotterdam by Daniel Kasman.
Above: Jean-Claude Brisseau's La fille de nulle part.
Two as One as Many
Of Cinema, Pixels and Chinese Warfare
On Mary Helena Clark's Orpheus (Outtakes), Makino Takashi's 2012, and Johnnie To's Drug War
Graf Attack!: or The Possibility Space (The Cinema of Dominik Graf)
On Dominik Graf, including Die Katze (1988), Spieler (1990), Der Fahnder: Nachtwache (1990/1993], Die Sieger (1994), Denk ich an Deutschland - Das Wispern im Berg der Dinge (1997), München - Geheimnisse einer Stadt (2002), Der Felsen (2002), Die Freunde der Freunde (2002), Hotte im Paradies »
By my first afternoon in Rotterdam I had found an image that positively vibrated out of the screen at me. A dark doorway, seen obliquely in an empty frame, contained by stolid, lifeless rural architecture, cloaked in a miasma conjured from a combination of haze, a fogged lens, old film stock, and blown out whites from an open aperture. It is from Letter, a short work, not so much a documentary but a fragment drawn carefully and gently into immanence by Sergei Loznitsa, conjured from footage he shot, the program notes tell me, over ten years ago “at a psychiatric institution in a forgotten corner of Russia.” But even with no text or voice over to place and set this artifact resurrected (or projected), and a soundtrack achingly follied and sneakily dubbed, the sense of lostness, malady and asynchronicity is prevalent. Some persons, mostly old and bumbling, pursue the frame »
- Daniel Kasman
La Furia Umana's first print issue (their 15th online) is now shipping all over the world. Much of the content is available online (excluded are 24 "love letters" from filmmakers to their favorite artists), but we're excited to get our hands on this nearly 300-page tome. Among the table of contents: a handful of pieces on Roberto Rossellini including one by Toshi Fujiwara on Voyage to Italy, Celluloid Liberation Front provides one article among several on Joseph H. Lewis, Emmanuel Herbulot on the intersection between Michelangelo Antonioni and Edward Ruscha, a selection of reviews (which I'm proud to be a part of), and far too much more to mention here. More from Berlin: news of their "Forum Expanded" section, which includes various exhibits by visiting artists, including one by Verena Paravel & Lucien Castaing-Taylor, which leads into our next piece of news... Cinema Scope unveiled their top ten of 2012, topped by Paravel and Castaing-Taylor's Leviathan. »
- Adam Cook
4 items from 2013
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