“A real cathedral in the desert” is how Mangini described the newly built Monteshell petrochemical plant, the biggest in the country and the bureaucratic force that brings together the managers and workers – both current and former – put before the camera in Brindisi ’65.
“Edward Owens has achieved in Tomorrow’s Promise a quality so exceedingly high that one is forced to term certain moments of the film bad only because they are surrounded by such rich nuance. Tomorrow’s Promise deals with complex, intellectually exciting subject matter yet remai
In 1966, at the height of minimal art in New York, artist Michael Snow chose not to make another object to be placed in a room but instead spent a year planning a film of a room: Wavelength, a forty-five-minute more or less straight-line zoom from the near to the far wall of a loft s
A native of Mauritania is delighted when he is chosen to work in Paris. Hoping to parlay the experience into a better life for himself, he eagerly prepares for his departure from his native land. Although an educated man, he has extreme difficulty finding work and an apartment.
“It is each individual New Cinema Film Spectator who breathes life to the images with and without thought; images which must come to life at the touch of each individual spectator’s eyes. The elements are primitive fire, and the measures of holy light which make films possible.”
“My films are about institutions, the place is the star. I have no precise definition of ‘institution’ other than a place that has existed for a while and that has fairly circumscribed geographical boundaries and where the staff is thought to be trying to do a good job.