Connie Nikas finds his brother Nick taken to jail after a screwed up bank robbery. To get him out, he has to face the dimly lit streets of New York City’s underworld.
“I thought I was going to look a lot trendier than I did.”
An insulator doles out R-15, a material that keeps homes warm in the winter months and cool in the summer.
In times of great turmoil, time comes to a standstill. The central two movements in For Now are panoramic shots and firm, vertical edits. They show shifts of place without the journey. Nature, the wind, movement occurring on its own: this seems to be the film’s real subject matter.
The Third Part of the Third Measure (2017), an audiovisual composition commissioned by the Institute of Contemporary Art, Philadelphia and Sharjah Biennial 13, creates an encounter with the militant minimalism of avant-garde composer, pianist, and vocalist Julius Eastman.
Ex Libris: The New York Public Library, goes behind the scenes of one of the greatest knowledge institutions in the world and reveals it as a place of welcome, cultural exchange and learning.
Anna Gritz: Watching the new film Also Known As Jihadi in the aftermath of the recent attack in Berlin resonates in a particularly somber tone, especially knowing that the idea for the film originated in the days following the massacre in Paris in November 2015.
“A blind man reports on an eclipse, a light phenomenon that he perceives through senses that do not involve sight. He takes us by the hand and guides us through the dark, through this temporary event that transforms the world as we know it.
“A majestic mountain range rises over a Norwegian town engulfed in darkness. The stormy sea laps at its shores. A thick snow is falling. The town’s inhabitants, almost motionless in their existence, are like creatures in hibernation.
“I saw the past as a shapeless, visceral mass, yet still somehow perfectible. It had its noble elements but among them I couldn’t help but recognize something – the main thing – that was viscous, unpleasant, and elusive to the grasp, like the intestines of a freshly disemboweled animal.”
“That’s how villages are. Anything can happen.”
Adrian (Syuleyman Alilov Letifov) in Western
Libération : De La graine et le mulet à Mektoub, qu’est-ce qui change dans la manière de monter un film d’Abdellatif Kechiche ?
“In fact, much of Lover for a Day is built on rhyming schemes that permutate different arrangements of characters into the same type of situation: side-by-side conversations framed in close two-shot; people walking and talking in the street; even certain sex positions recur.
“Since I was born I have heard the legends, songs and stories of the Alentejo. All of them, known and said by heart.
“Fang Xiuying is the mother of a good friend of mine. I was going to make a documentary about her in 2015, but it was postponed because I was too busy at the time. In 2016, the friend called to tell me that her mother’s illness had grown severe, and she might not live very long.
Individuals wait, silence is heard, a microscopic attention through a tired mass. If the film is almost mute, it is because it focuses on silent figures, although their struggle is deafening.
“Early on, I decided that the premise and structure for the film would be the Ouroboros: the symbol of the snake eating its tail, a perpetual cycle of destruction and renewal, in order to ask the open ended question of whether forgetting was the way forward or the way that we destroy ourselves.
“I have been classed as a director of short work. When I watch films by Bruce Baillie, Peter Hutton, or Agnès Varda, though, I never think that they made short films as the form is generally understood.
“Combining archives of May 1968, amateur films showing the crushing of the Prague Spring that same year and the tourist images of his mother’s trip to China in the year of the Cultural Revolution, João Moreira Salles questions the posterity of the most intense moments of history, be they official
“In Hong’s bittersweet sonatas, typically composed of multiple movements, repeated figures and modulating motives, any relationship or situation is susceptible to variability: there can always be another version, another chance, another time.
One night, a group of workers realizes that the administration is stealing machines and raw materials from their own factory.
Tremor is driven by the voices that run through it – the voices of poets and madmen, of a mother or a child. From reflexive thought to spontaneous account, from witness statement to fiction, in turn they talk about their experience of violence and war.
“Drawing on identity photos taken by the Portuguese political police during the dictatorship, Susana de Sousa Dias continues the work she began fifteen years ago on the possibility of representing a repressed history and giving an account of the torture now erased.
In the back room of a flower shop, Tomi, Rasto and Mižu are digging a tunnel in order to break into the safe of the National Bank. After heavy rainfall, the underground maze gets submerged by water and they are forced to stop working.
We have a country of words.
Speak speak so I can put my road
on the stone of a stone.
We have a country of words.
Speak speak so we may know
the end of this travel
« Le 23 novembre à Paris, 15 heures. Je veux parler de quelqu’un. D’un homme de vingt-cinq ans tout au plus. C’est un homme très beau qui veut mourir avant d’être repéré par la mort. Vous l’aimiez. Plus que ça. »
“I guess the train has always been a close friend with cinema since the very beginning. The Lumieres’ The Arrival of a Train for example. So the long, fascinating historical aspect is there to begin with. Also trains bring people together - strangers, families and friends.
“In boxing, ‘the distance’ refers to the scheduled length of a fight, during which the boxer’s aim is to remain standing.