Lee Morgan

NYFF 2016: I CALLED HIM MORGAN BY KASPER COLLIN (ENG)

By Tanner Tafelski

Morgan did a lot of living in those 15 years, and Kasper Collin traces them in his second documentary about a jazz musician, I Called Him Morgan. The tools at his disposal are standard and have the potential to make for a standard documentary: a stew of archival audio and visual footage as well as talking head interviews recorded for the film. Collin uses them so impeccably though that his documentary transcends its materials.

Paterson

NYFF 2016: PATERSON BY JIM JARMUSCH (ENG)

By Tanner Tafelski

But the most quietly striking thing about the film is Affonso Gonçalves editing. His work shines during musical montages with delicious superimpositions that convey the sense of time flowing by as Paterson drives. Gonçalves is one of the most recognizable editors working in cinema today.

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NYFF 2016: NERUDA BY PABLO LARRAÍN (ENG)

By Tanner Tafelski

The film move, move, moves. Neruda alternates between the poet and the cop; its synaptic editing crystallizes moments, mainly of Neruda and Óscar walking through hallways, climbing into cars, and shuffling along streets. This is a film of entrances and exits, comings and goings. It is a film that morphs history into a dime store cat-and-mouse chase that ends in the snow-capped Andes.

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53rd NYFF. MOUNTAINS MAY DEPART BY JIA ZHANGKE (ENG)

By Tristan Teshigahara Pollack

In that film, he hybridized fantasy and reality, thereby cleverly injecting his personal and political woes by using the Beijing World Park as a backdrop – a real-life surrealistic theme park that attempts to give visitors a glimpse of the world without exiting Beijing.

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53rd NYFF. THE FORBIDDEN ROOM BY GUY MADDIN (ENG)

Tanner Tafel​ski

Now is the time for excess, for mania, for Guy Maddin has made a new film, The Forbidden Room. If you were skeptical before, The Forbidden Room erases any lingering doubts: Maddin is a hauntologist of old and lost films. Working with the “Bro Joes,” Evan (co-director) and Galen Johnson (production and sound designer), Maddin resurrects films, calling them forth, but what appears are mutants, bits and pieces of films chopped, sliced, diced and spliced back together. According to Maddin, about 17 fragments are jammed into The Forbidden Room.

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53rd NYFF. RAMONA BY ANDREI CRETULESCU (ENG)

By Tanner Tafelski

In the past three years Andrei Creţulescu has made three minimalist conceptual films, each one better than the last. And in his prior work, the name Ramona rings out at specific moments. “I can’t believe you fucked Ramona,” one thief says to another in Bad Penny (2013). While power relations play out among three thugs in a booth at a pub, off screen, the sounds of festivity are heard as—you guessed it—Ramona celebrates her birthday in Kowalski (2014). Ramona is like an in-joke among Creţulescu’s small body of work, inevitably manifesting as the title in his latest, most accomplished film yet.

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