Leviathan is a project that stems from a year spent at sea filming with industrial fishermen from New England. In portraying the labor of fishing, it participates in a longstanding history of transforming fisherfolk into images, one that goes back to the beginnings of photography. Yet it resists both the romanticism and the anthropocentrism of this tradition, striving instead for a less sentimental relationship between the human and the pelagic, and to afford equal aesthetic attention and ontological weight to the human, the ecological, and the industrial. In the waters where Melville’s Pequod gave chase to Moby Dick, Leviathan captures the collaborative clash of man, nature, and machine. Shot on a dozen cameras — tossed and tethered, passed from fisherman to filmmaker — it is a cosmic portrait of one of mankind’s oldest endeavors. —Berlinale
Leviathan is Deadliest Catch as directed by Stan Brakhage, with increasingly poor pacing and questionable composition. Starts out quite strong with a gripping, confusing and, oddly, eerie opening long take. As an anthropological study it's interesting, but it needs to be tightened. Plus, some of the directors' shot selections, particularly toward the end, are downright aggravating without justification.
Llevando al documental observacional a limites casi anatómicos, es la cámara la que se lleva el total protagonismo de esta película avasallante. Tal dispositivo nunca antes tuvo tanto poder en un documental, al punto tal de que parece poseer una propia subjetividad. Lo que se consigue es una obra de un poder alucinatorio insólito, donde el miedo a lo extraño y lo propiamente físico de la situación crean pura poesía.
Castaing-Taylor and Paravel understand the only appropriate use for a new cinematic technology such as the GoPro: not to replicate human senses in the name of “realism,” but to use technology to articulate a new realm of sensation beyond the human. http://filmcapsule.com/2013/04/02/leviathan-2013/
Some reflections on the Berlinale’s retrospective programming, Leviathan inspired art installations, & thoughts on a few more films.
Abel Ferrara gets funding for two projects, Leviathan gets a new trailer, Kurosawa storyboards, a new David Lynch short & more.
La Furia Umana debuts in print, Scorsese and De Palma prep new projects, Cinema Scope divulges their 2012 faves, Oshima + Kurosawa & more.
In our annual poll, we pair our favorite new films of 2012 with older films seen in the same year to create fantastic double features.
Our annual round-up of all the posters for the main slate of the New York Film Festival.
This week: striking reality & cinema-blending images, Rosenbaum on TIFF, and some naturally occurring companion pieces to Leviathan.
Our correspondant’s last report from TIFF discusses new Oliveira, work from a HK genre master, Leviathan, and more.
More on Malick in our critics’ TIFF correspondence, which continues with Oliveira’s new film, a visceral documentary and a restored classic.
An evaluation of the feature films programmed in TIFF’s Wavelengths section.
This week we have word on upcoming projects from Werner Herzog, updates from Venice & Adrian Martin on Stephen Dwoskin and Chris Marker.
A wrap-up overview of Locarno—which turns out to be the last under Artistic Director Olivier Père—its prize-winners and highlights.
This incredible experimental doc is now out in the US; we talked to the filmmakers at Locarno.
The new documentary from the filmmakers of Sweetgrass and Foreign Parts looks absolutely stunning.