Originally published in Sight & Sound, June 2019
Lying somewhere near the intersection of high and low culture, experimental and exploitation cinema, pop art and postmodern pastiche, Diamantino is like everything and nothing that’s preceded it. For many, it’ll be an introduction to directors Gabriel Abrantes and Daniel Schmidt, two young filmmakers and frequent collaborators whose polygamous working methods have, over the course of the past decade, united a small constellation of like-minded aesthetes through a shared interest in the absurd and transgressive. Working in a variety of pairings, this unofficial coterie of co-directors (which at various points has included such artists and filmmakers as Benjamin Crotty, Alexander Carver, and Alexandre Melo) has pioneered a uniquely polymorphous, nonconforming brand of cinema that reorients themes of identity and desire through playfully allegorical frameworks. The results have proved strange, provocative and genuinely unclassifiable. Indeed, despite the frequent art-historical allusions, their combined output continues to resemble nothing so much as itself. Continue reading
Originally published in Fireflies #3, Spring 2016
Zhao Tao’s first appearance in a film by Jia Zhangke features the actress, back turned to the camera, addressing an audience from the middle of a stage. Zhao’s role in Platform, Jia’s second feature, was her acting debut. In the decade-and-a-half since its release she’s appeared on a variety of stages, in a number of performative guises, in nearly all of Jia’s films. Needless to say she’s now synonymous with the director’s work, only periodically appearing in anyone else’s films (at the time of writing, her filmography lists only three credits in features not directed by Jia). Continue reading
The following article, written by filmmaker and artist Morgan Fisher, was originally published in Cinema Scope 38, Spring 2009. Thank you to Morgan Fisher and Mark Peranson for allowing me to republish it here. Criterion’s Detour Blu-ray is available on March 19, 2019.
In the narration of a short film I finished in 1984, I talked about the last shot in Detour (1945), directed by Edgar G. Ulmer. My commentary was brief, and I knew even then that there was more to be said. The film in which I talk about Detour is Standard Gauge. It’s one continuous extreme close-up that shows one after another pieces of 35mm film that I had gathered in the course of my employment as an editor in Hollywood, while on the track I talk about each in turn. Apart from the titles, the film consists of this one shot, which is 32 minutes long.
One of the pieces was from the leader of a reel of The Naked Dawn (1955), another film by Ulmer. In the leader was a frame with the title, The Naked Dawn. I had seen The Naked Dawn and liked it well enough, but the reason I included the piece of leader was because it gave me a chance to talk about the last shot in Detour. I love Detour, but the last shot is truly astonishing. Continue reading
Originally published in frieze, March 2019
The slogan of the Biennale of Moving Images 2018, ‘The Sound of Screens Imploding’, isn’t merely a catchphrase, but a unifying concept reverberating through an array of film and gallery spaces. Billed as an ‘immersive exhibition’, last year’s edition – the third overseen by Andrea Bellini, director of the host venue, Centre d’Art Contemporain Genève – has expanded its remit accordingly, commissioning and enlisting films, music and performances as well as a series of individual audio-visual environments. Co-curated by Tate Modern’s Andrea Lissoni, this unique exhibition features 20 original projects that reimagine the aesthetic capacities of the screen and interrogate the moving image as a repository of ideas and information. Continue reading
Originally published in Film Comment, January/February 2018
Roger Ebert was fond of referring to cinema as “a machine that generates empathy.” In the last few years, the term “empathy machine” has been co-opted by proponents of virtual reality technology. In the artist’s statement that accompanies his new VR installation Carne y Arena (Virtually Present, Physically Invisible), an ambitious attempt to digitally re-create the process of illegally crossing the U.S.-Mexico border, Alejandro G. Iñárritu goes one step further, outlining not simply an urge to engender the viewer’s empathy, but a desire to prompt a full-bodied response through “direct experience.” Continue reading
Originally published in Cinema Scope 74, Spring 2018
For Morgan Fisher, Another Movie is anything but another movie. The result of a decades-long reconsideration of the art and persona of Bruce Conner, Fisher’s first new film in fifteen years attempts to reckon with a work of such time-honored merit that its mere existence feel courageous. Conner’s epochal debut A Movie (1958), a 12-minute montage of disaster-related found footage set to Ottorino Respighi’s Pines of Rome, simultaneously crystalized a genre and incited what is now recognized as the second generation of the postwar American avant-garde, which Fisher’s first decade of meta-materialist film work both epitomizes and deconstructs on a movie by movie, method by method basis. Continue reading
A version of this interview was originally published by The Hollywood Reporter, May 5, 2016. Below is the complete transcript.
At 90 years old, director Claude Lanzmann made his first trip to the Academy Awards this past February on behalf of the Oscar-nominated documentary short film, Claude Lanzmann: Spectres of the Shoah, Adam Benzine’s moving tribute to the nonfiction filmmaking titan and his most celebrated work, the landmark nine-hour Holocaust documentary Shoah (1985). Featuring new interviews with Lanzmann and a selection of critics and fellow directors, as well as unreleased footage from the making of Shoah, Benzine’s film is both an inside look at how a work of such historic and cinematic magnitude came to be and a loving portrait of an artist whose integrity and sense of humanity remains undiminished. Claude Lanzmann: Spectres of the Shoah premieres on HBO on Monday, May 2, at 9 p.m. ET/PT.
The following are excerpts from an interview conducted on Feb. 27, the eve of the 88th Academy Awards that Lanzmann attended. Continue reading
Originally published by frieze, March 8, 2018
Shapeshifting in both form and function, the work of Catalan filmmaker Albert Serra extends far beyond the cinema. A frequent disrupter of the medium’s prescribed models, Serra has long moved fluidly between the screen and the gallery, but his recent work in each field has evinced an increasing interest in the stage-bound dimensions of the theatre that was barely suggested in such early, folksy pastoral films as Honor of the Knights (2006) and Birdsong (2008). Bringing this preoccupation to what, for a lesser artist, would seem a logical endpoint, Serra set his most recent feature, the ravishingly macabre historical drama The Death of Louis XIV (2016), entirely in the bedchamber of the slowly withering French patriarch. If, in light of this progression, it seemed inevitable that Serra would one day try his hand at theatre proper, then Liberté, the director’s first large-scale work for the stage, confirms less a disciplinary reappraisal than a formal reallocation by other means. Continue reading
Originally published in Sight & Sound, November 2017
Concerned as much with its subjects and their surroundings as it is the material and aesthetic constituents of its presentation, the work of British artist and filmmaker Ben Rivers conjures highly tactile worlds of objects and ephemera. That Ben Rivers: Ways of Worldmaking, a new hardbound collection of Rivers-related art, essays and ephemera is itself a beautiful object should come as no surprise: all of Rivers’s films exist at once as audiovisual indices of largely anonymous people existing in vivid yet anonymous places, and as physical manifestations (i.e. documents) of their highly unique means and modes of production. Lest we forget, Rivers once titled one of his films Things (2014). Continue reading
Originally published in Sight & Sound, December 2016
Wavelengths, the Toronto International Film Festival’s annual programme of “daring, visionary, and autonomous” cinema, is never in thrall to traditional components of film, but it’s generally narrative that is first to be cast aside. Even by these standards, the best of this year’s selection of Wavelengths features, shorts, and installations seemed particularly intrigued by different narrative strategies and reimagining how one might go about telling a story through moving images. Continue reading