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2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2004

7 items from 2015


Berlinale 2015 Mubi Coverage Roundup

24 February 2015 10:54 AM, PST | MUBI | See recent MUBI news »

Below you will find our total coverage of the 2015 Berlin International Film Festival. New interviews will be added to the index as they are published.

Correspondences

Between Adam Cook and Daniel Kasman

#1

Introduction by Daniel Kasman

#2

Adam Cook continues the festival introduction

#3

Daniel Kasman on Guy Maddin and Evan Johnson's The Forbidden Room, Jafar Panahi's Taxi

#4

Adam Cook on Jem Cohen's Counting, Guy Maddin and Evan Johnson's The Forbidden Room, Jafar Panahi's Taxi

#5

Daniel Kasman on Berlin Critics' Week, Nathalie Nambot and Maki Berchache's Brûle la mer, Kevin B. Lee's Transformers: The Premake, Alex Ross Perry's Queen of Earth

#6

Adam Cook on Pablo Larraín's The Club, Kidlat Tahimik's Balikbayan #1 Memories of Overdevelopment Redux III, Andrew Haigh's 45 Years, Wim Wenders' Everything Will Be Fine

#7

Daniel Kasman on Werner Herzog's Queen of the Desert, Patricio Guzmán's The Pearl »

- Notebook

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Berlinale 2015. Correspondences #11

16 February 2015 8:06 AM, PST | MUBI | See recent MUBI news »

Cyclops Observes the Celestial Bodies

Dear Adam,

I want to quibble with you on a point you made about an art installation in the Forum Expanded section. Discussing the simple but strangely transfixing Je proclame la destruction, you wrote to me of the order of its two shots, of first the radical speaker coming to the microphone and then the young student hero pushing through the crowd. But this installation was on loop—couldn't it be the other way around, that the hero enters, we see an empty stage, and then the radical steps up to declare destruction? I don't recall Robert Bresson's original film (from which these two shots are taken) enough to know the order, but one of the shifting pleasures of this installation was how sometimes one shot seemed to precede the other, only for the continual repetition to shift that sense of time and causality. »

- Daniel Kasman

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Berlinale 2015. Correspondences #2

5 February 2015 3:29 PM, PST | MUBI | See recent MUBI news »

Dear Danny,

The pleasure is all mine. To count myself as your partner in this correspondence is an honour, albeit an intimidating one. You accurately describe our friend Fernando as inimitable, and indeed I find myself in a position with big shoes to fill. Rather than to naively hope to imitate the insightful and often inspiring exchanges you’ve had with Fern these past few years in Toronto, I’ve made a point of not looking back at those pieces and instead intend to rely on whatever differences I bring to distinguish our written conversations from those. I'll be writing eagerly in pursuit of my discoveries. Do you find, like myself, that your ideas develop as you write, that you don’t begin to truly understand what you're writing on until your fingers are typing away, seemingly ahead of your thinking? I'm equally excited for your discoveries, which have intrigued »

- Adam Cook

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Berlinale 2015. Correspondences #1

4 February 2015 4:11 PM, PST | MUBI | See recent MUBI news »

Dear Adam,

What a pleasure to be at another film festival with you. Despite the frenzy of activity, the audiences and the society of such events, I tend to find them lonely places, so much time in the dark with your own thoughts, so many single-minded scrambles from venue to venue, most conversations before the late hours being mere passing salutations or monosyllabic recommendations. The only other time I’ve been able to strike up a correspondence like this is with the inimitable Fernando F. Croce during Toronto’s film festival, and I count myself lucky to be able to resume this missive format with you. It’ll be good to have a place to chat, both out there, in Berlin, and here.

This year, for the first in many, I have optimistically opted to visit the Berlin International Film Festival rather than attend the International Film Festival Rotterdam, mainly »

- Daniel Kasman

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Daily | Berlinale 2015 Lineup, Round 11

20 January 2015 3:25 AM, PST | Keyframe | See recent Keyframe news »

Last week we saw the lineup for the main program of the Berlinale Forum; today, the festival's announced the works to be presented in the tenth edition of Forum Expanded. Je proclame la destruction by Arthur Tuoto consists of two shots from Robert Bresson’s film Le diable probablement (1977) repeated in an endless loop. Martin Ebner’s installation Ein helles Kino challenges the cinematographic setting, while Leila Albayaty steals her very own film images in her film Face B. The program also features new work by Michael Snow, Ken Jacobs, João Pedro Rodrigues and João Rui Guerra da Mata and more. » - David Hudson »

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Daily | First Look 2015

9 January 2015 12:03 PM, PST | Keyframe | See recent Keyframe news »

First Look, which New York's Museum of the Moving Image calls "not just a festival of new films" but "a festival about new approaches to filmmaking," opens tonight with Jessica Hausner's Amour fou and runs through January 18. We're gathering overviews ranging from Tony Pipolo's for Artforum, wherein he writes about Jon Jost’s Coming to Terms with James Benning, Kyle Turner in the Notebook on two new shorts by Gina Telaroli, Sam Weisberg in the Voice on Omer Fast's Everything That Rises Must Converge, Max Nelson in Reverse Shot on two 3D films by Ken Jacobs—plus interviews and more. » - David Hudson »

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First Look 2015

6 January 2015 6:13 AM, PST | MUBI | See recent MUBI news »

For Astoria’s Museum of the Moving Image to house an event like the First Look series—opening this Friday and running through January 18—is a cinematic blessing. Here, in its fourth year, you’ll find undistributed gems, but, though its similarities to other festivals halt with “undistributed,” the curation of the series is precise and impeccable, giving an illusion of intimacy. This year, with selections from Omer Fast, Gina Telaroli, and Jessica Hausner, there’s a stress on waking nightmares; films whose atmospheres are bone chilling in both overt and subtle ways.

Ville Marie

Opening with a title card dedicating the film to Carlos Lorenzo, Ville Marie—one of the many experimental films being exhibited during the series—intentionally or otherwise becomes a living fever dream, its use of double and reverse exposure reminiscent of E. Elias Merhige’s horror experiment Begotten. That film sought to expose the horror of creation, »

- Kyle Turner

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2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2004

7 items from 2015


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