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BERLINALE 2017: ULYSSES IN THE SUBWAY DE MARC DOWNIE, PAUL KAISER, FLO JACOBS, KEN JACOBS (ENG)

By Tara Judah

For me, the affect of 3D holds a specific fascination, as it constructs real life dimensionality (between the viewer and the surface of the screen) from the images (the (re)presentation of something that exists) to create cognitive and theoretical interpretation. So, while immersion may be one way to talk about the affect of 3D, so too might the relationship between the aesthetic pursuance of the ontology of what it (re)presents: an historical, indexical real.

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ROTTERDAM 2017: SUPER DARK TIMES BY KEVIN PHILLIPS (ENG)

By Tara Judah

Two teenage boys, their faces partially obscured, revealing only their pimply, foul mouths, flick through a high school yearbook and make bullying and rapey remarks about their classmates. As a not too clear TV signal cuts in and out, we see that they have pornography on in the background. It’s a teenage boy’s bedroom, but there’s no mistaking that this is Locker Room Talk. The film, a beautifully rendered horrendous suburban story, is set in the 1990s but feels like Trump’s America incarnate.

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ROTTERDAM 2017. PARALLAX VIEWS: BIGGER THAN SHINING BY MARK COUSINS (ENG)

By Tara Judah

Building on last year’s audio-visual essay provocation – Whose Cinema: the video-essay on the big screen of the International Film Festival Rotterdam – critic and filmmaker Mark Cousins returned to screen his 2016 contribution Bigger than The Shining one last time before destroying it (the DCP) with an axe.

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ROTTERDAM 2017. THE MOLE SONG: HONG KONG CAPRICCIO BY TAKASHI MIIKE (ENG)

By Tara Judah

The prolific Miike Takashi directed five other films in the two years (2014 and 2015) since the first instalment of his live action adaptation, The Mole Song: Undercover Agent Reiji (2013). Returning now to the titular bat-shit cray undercover cop character, created as a manga series by Noboru Takahashi, Takashi has created something exhilarating and messy.

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ROTTERDAM 2017: MANIFESTO BY JULIAN ROSEFELDT (ENG)

By Tara Judah

In each segment, Cate Blanchett is re-invented as a human incarnation of each movement’s manifesto. The hair, make-up, wardrobe and mise-en-scene that mark each transition are supreme. But beyond that, and beyond even the careful composition of each striking establishing shot, or the brilliantly rhythmic score, is a belly full of passionate an

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VIDEO ESSAY ON VIDEOFILIA (AND OTHER VIRAL SYNDROMES)

By Mónica Delgado

Beyond the power of technology and its control over the libido of teenagers that is posed in Videophilia (And Other Viral Syndromes), it seems that Peruvian filmmaker Juan Daniel Molero also proposes a reading about the consequences of this type of “infection” from female guilt and repression.

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CAIRO INTERNACIONAL FILM FESTIVAL 2016: POLAR BOY BY ANUN AUN (ENG)

By Tara Judah

Using disappointingly one-dimensional stereotypes to tell a male coming-of-age story is Anu Aun’s Estonian entry into the Official Competition at the 38th Cairo International Film Festival, Polaarpoiss (Polar Boy).

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CAIRO INTERNATIONAL FILM FESTIVAL 2016: AFTER THE STORM BY HIROKASU KORE-EDA (ENG)

By Tara Judah

Here, Ryota (Hiroshi Abe) returns home after a patriarchal death in the family, hoping to find the strength to take up his own role within the flimsy structure of gendered society. The territory is well trodden as Abe played another son trying to become a symbol of the patriarch after a familial death, also named Ryota, in Kore-eda’s 2008 film, Still Walking.

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CAIRO INTERNACIONAL FILM FESTIVAL 2016: ANNA’S LIFE BY NINO BASILIA (ENG)

A new article by Tara Judah about Anna’s Life by Nino Basilia, from Cairo Internacional Film Festival, Competition for Feature and Documentary : Official Selection.

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