Tag: Wavelengths
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Natural Wonders: The Films of Jessica Sarah Rinland
This essay was originally published in Cinema Scope.
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TIFF 2018
This essay was originally published at Senses of Cinema.
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TIFF 2017
This essay was originally published at Senses of Cinema.
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TIFF 2016
This essay was originally published at Senses of Cinema.
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TIFF 2015
This essay was originally published at Senses of Cinema.
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TIFF 2014
This essay was originally published at Senses of Cinema.
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TIFF 2013
This essay was originally published at Senses of Cinema.
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TIFF 2012
This essay was originally published at Senses of Cinema.
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TIFF 2012 – Day 5
The Master (Anderson), Once Upon a Time Was I, Veronica (Gomes), Birds (Abrantes), and Viola (Piñeiro).
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TIFF 2012 – Day 3
Gebo and the Shadow (de Oliveira), differently, Molussia (Rey), and Night Across the Street (Ruiz).
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TIFF 2012 – Day 2
Barbara (Petzold), Mekong Hotel (Apitchatpong), Big in Vietnam (Diop), Sightseers (Wheatley), Student (Omirbayev), and Wavelengths 1.
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TIFF 2011
This essay was originally published at Senses of Cinema.
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James Benning: Naked Repose
Originally published at Mubi.
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Phantoms of Nabua and a Letter to Uncle Boonmee
There are ways of “decoding” this film, I suppose — the soccer ball as a synecdoche for military armaments, the cinema as documentarian, the hovering florescent light as ghost (or Ghost) — but reducing Apitchatpong’s films to points on a symbolic answer key seems beside the point.
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Wavelengths: Tamalpais and Hotel Roccalba
Short responses to Chris Kennedy’s Tamalpais and Josef Dabernig’s Hotel Roccalba.
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Lumphini 2552
My tendency when describing a film like Lumphini 2552 is to fall back on Modernist rallying cries like that old Ezra Pound chestnut, “Make it new!” Maybe a useful way to think of Nishikawa’s film is as a beautifully defamiliarized — and uniquely cinematic — landscape.
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New Directions: The 33rd Toronto International Film Festival
This essay was originally published at Senses of Cinema.
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Nathaniel Dorsky: Manifesting the Ineffable
Originally published at Mubi.
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RR (2007)
Thirteen Ways of Looking at a Railroad (with apologies to Wallace Stevens)
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2007 TIFF Day 5
The Coen brothers’ No County for Old Men, Anahi Berneri’s Encarnacion, Shekhar Kapur’s Elizabeth: The Golden Age, and Bruce McClure’s Everytwo Circumflicksrent…Page 298.
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2007 TIFF Day 4
Lucia Puenzo’s XXY, Lee Chang-dong’s Secret Sunshine, Saverio Costanzo’s In Memory of Myself, Hannes Schupbach’s Erzahlung, and Heinz Emigholz’s Schindler’s Houses.
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2007 TIFF Day 3
Naomi Kawase’s Mourning Forest, Bela Tarr’s The Man from London, Jia Zhang-ke’s Useless, John Gianvito’s Profit Motive and the Whispering Wind, and Ute Aurand and Maria Lang’s The Butterfly in Winter.
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2007 TIFF Days 1 and 2
Marjane Satrapi’s Persepolis, Wang Bing’s Fengming, A Chinese Memoir, Hou Hsiao-hsien’s Le Voyage du Ballon Rouge, Peter Hutton’s At Sea, and Sandra Kogut’s Mutum.
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Schuss! (2005)
Nicolas Rey’s Schuss! is an experimental essay film that is concerned, ultimately, with the spoils of capitalism. More specifically, it’s about the rise of the aluminum industry, the building of a French ski resort, and the economic interests that joined the two.
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Silk Ties (2006)
After seeing the Jennings film and Nathanial Dorsky’s Song and Solitude on the same program, I walked away wishing I could recalibrate my view of the world around me, which, I guess, is one of the more noble functions of a-g cinema.
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History and Politics
These Girls is a difficult film to watch. Rached avoids over-sentimentalizing her subject, and, frankly, the girls have been hardened to the point that, at times, I found it difficult to muster the appropriate sympathy for them. (I say that with embarrassment.)