A simple guide on how to end relationships before they begin.
“Hey New York! As we all know, New York City is home to some of the most beautiful, desperate and selfish people on the planet. Which makes it the perfect place to avoid relationships.”
Film essayist Thom Andersen snatches the Afro-American actor, director and scriptwriter Spencer Williams from obscurity with a striking, plotless montage film.
Soldiers in a small town in northern Thailand are struck with a mysterious sleeping sickness and are transferred to a temporary clinic in a former school.
In February 2002 – about a year before the U.S. invasion – Iraqi filmmaker Abbas Fahdel traveled home from France to capture everyday life as his country prepared for war.
“Recollection utilizes footage from Israeli films as raw material for exploring, reconstructing, and sharing the inaccessible history of his hometown Jaffa: “For many years, I have been collecting Israeli fiction films shot in Jaffa as early as 1960.
“Recent Chinese independent fiction cinema has often borne the traces of a social burden, one that is processed via its commitment to a kind of ‘social realism.’ Chinese artists for millennia have assumed the role of socially engaged actors, moral commentators, or guardians of certain autonomous
Philippe Grandrieux: You film with a history behind you. It’s hard to film as if Dreyer, Murnau and Lang had never existed. But I never think of antecedents as I film a shot; I couldn’t. I don’t have a cinephile background.
“Mohanad Yaqubi, born in 1981 in Kuwait, is a filmmaker and one of the founders of the Ramallah-based production outfit Idioms Film and the research and curatorial collective Subversive Film.
“Ria Pacquée is a keen observer of public life. In As Long as I See Birds Flying I Know I Am Alive she collects recordings made in Paris, Kathmandu, Athens, Istanbul, Bruges, New York, Varanasi and Antwerp.
“The plot of Right Now, Wrong Then is formed by a minimal situation upon which a delay and a set of variations of brief scenes are established.
This film is an installation that can be both screened in a cinema or exhibited in a gallery. It comprises of three short films:
Two Marxists in Hollywood (2015) - 26’
Glass House (2015) - 21’
A Model Family in a Model Home (2015) - 22’
Daniel Kasman: This is not the first film we’ve seen of yours that is about your relationship with your mother. This has been a filmmaking motif for you. Can you say something about its importance, the relationship to your filmmaking practice?
“The Masked Monkeys seems sincere in its records of a cultural practice and indeed compassionate and incisive in affording the relationship between man and monkey a rich existential depth.
“Perhaps Loznitsa’s most telling creative device is an enhanced sound design – by his long-time collaborator Vladimir Golovnitsky – that picks out threads of conversation in the crowd, and shows how talk, both among people, and on the radio, provided a sort of bush telegraph by which the populati
