“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