Films byTexts by Emiliano Battista
Correspondence EN

Still, upon sauntering through the large and wide-ranging selection of pictures large and small, framed and unframed, hung high and low, or spread out on tables, I started to perceive Wolfgang Tillman’s show, 2017, as equally marking this moment in time, when high resolution camera phones have become completely ubiquitous.

Correspondence EN

The Guardian recently charted Kanye’s packed 12 months of megalomania: it really is a thin line between acting crazy and becoming crazy. You write: “The danger with Famous is that it risks being the very thing it wants to comment on.” I would argue: the force of Famous is that it risks being the very thing it wants to comment on.

Correspondence EN

So this film about a charged political moment remains strangely, and deliberately, disconnected from the politics of that moment. What interests Loznitsa isn’t the politics of the protests, or their political ramifications; what he focuses on and brings to the screen is the dramatic arc of protests as such.

Article NL FR EN

At the foot of the stairs, a woman pulls a mirror out of her stuffed bunny purse and decides to apply a bit more make-up. It’s all quite banal. Why is it, then, that the viewer feels a tug at his heartstrings?

Correspondence EN

Watching spacecraft float near a wormhole next to Saturnus in a packed Grand Eldorado on a Saturday evening is why we go to the movies. Watching that same spacecraft explode in outer space, seeing huge dust storms shroud the land and witnessing the last people on earth (almost) expire is why we’d maybe better stay at home.