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WHAT LINGERS BEHIND: PEDRO COSTA AT LINCOLN CENTER

By Devon Narine ­Singh

From July 17th to­ July 23rd, the Film Society of Lincoln Center (FSLC) held “Let us Now Sing Praises of Famous Men: The Films of Pedro Costa”. On opening weekend the FSLC exhibited Costa’s films In Vanda’s Room (2000) and Colossal Youth (2006). Interesting is the term that best describes the viewing experiences of Costa’s films, because allows for a spectrum of emotional responses.

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DIAGONALE 2015: AUSTRIAN AVANT-GARDE CINEMA

By Claudia Siefen

Notes concerning my very personal selection of Austrian Avant-garde Cinema seen during the “Diagonale”, Festival of the Austrian Film 2015.

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BILL VIOLA EN EL GRAND PALAIS (SPA)

Por Mónica Delgado

¿Hasta qué punto la influencia de Bill Viola se ha hecho reconocible en el cine experimental de las últimas décadas e incluso en obras icono de festivales independientes que intentan un estilo más poético? De un tiempo a esta parte toda auscultación sobre los cuerpos, sobre todo desde la materialidad que permite el digital, lleva la inspiración de Viola, pero distanciada claramente en las intenciones y visiones de mundo.

On the Way to India Consciousness, I Reached China, Henry Forcia, 1968 (Frame scanned from 16mm print of On the Way to India Consciousness, I Reached China (Henry Francia, 1968). Courtesy of the filmmaker's estate, the Film Development Council of the Philippines / National Film Archives of the Philippines, NYU-MIAP, and BB Optics)
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9th ORPHAN FILM SYMPOSIUM: THE FUTURE OF OBSOLESCENCE (ENG)

By Julian Ross

Now in its 9th edition since 1999, the Orphan Film Symposium has been a biannual gathering of archivists, academics and artists under the auspices of NYU’s Dan Streible for the purposes to share and discuss projects related to “orphan films”. Rather than the legal definition of “orphan films” as films without a copyright holder, the symposium opts for an inclusive categorisation that encompasses a range of works that are neglected to varying degrees.

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ALLAN DWAN Y EL AUGE Y DECADENCIA DE LOS ESTUDIOS DE HOLLYWOOD

Esta retrospectiva, que se viene realizando en el MOMA de New York, traza un perfecto panorama que atraviesa cincuenta años en la vida del Hollywood artesano, bajo el ojo certero y vivaz de Dwan y con parte del apoyo del productor Benedict Bogeaus; desde sus diversos escenarios, las interpretaciones de íconos, los diálogos que reflejan una estructura del sentimiento caduca o reanimada, la variabilidad de los géneros cinematográficos, y que este realizador manejaba con destreza, pese a algunos altibajos propios de las sensibilidades de la época (moral, ideologías, afectaciones).

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INTREPID PALPITATIONS: AN EVENING WITH SAUL LEVINE

Traversing the line between film archiving and filmmaking, The Big Stick bravely intercuts two Chaplin shorts which center on police riot control and street revolts. Levine contextualizes the Chaplin reels to his own epoch, abruptly cutting in the middle of frames, which could be read as a visual signpost of political strife. The arcane rhythm of Levine’s palpitations are actually quite simple: they are raw visual meters that culminate with their respective contexts.

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