Rotterdam 2010: Wartime Japanese
Daniel KasmanDeep inside Olaf Möller’s After Victory program is Fighting Soldiers (1939), the kind of wartime soldiers-on-the-front documentary that might not get a second glance if it was American. But it’s not;
Deep inside Olaf Möller’s After Victory program is Fighting Soldiers (1939), the kind of wartime soldiers-on-the-front documentary that might not get a second glance if it was American. But it’s not;
While Chantal Akerman's early works—Le chambre, Hotel Monterey, News from Home, Je tu il elle, and Les rendez-vous d'Anna—have been chronologically grouped based on her sojourn in New York City during
Kill them with kindness—a rare approach and quality for political cinema, usually so bristling and over-eager. Amir Muhammad’s Malaysian Gods takes an instructive and benign attitude. The video traces
Winter wears on, and again, most of the more interesting openings of the week are local, beginning, almost inevitably, New York. Michael Atkinson in the Voice: "As we well know, they don't make Susan
Called It, Bitches! (Or, Homage To Hammond and Wells): Here's the text of a mass e-mail I sent out yesterday. "I first saw the Miramax Blu-ray disc of Gangs of New York in the summer of 2008, I guess
Movie Poster of the Week has been at the International Film Festival Rotterdam this past week, scouting some brand new poster art from around the world. Next week I'll be posting a larger selection
Along with An Affair at Akitsu, time was also the subject of David Gatten’s terrific new film, commissioned by Mark McElhatten for a shop window themed program of experimental shorts in honor of filmmaker
After seeing Kiju Yoshida’s debut film Good for Nothing (1960), we can add the filmmaker’s name to the rare list of studio directors whose first films signal immediate, restless talent, vision fully
I wouldn't have been altogether surprised if Marcel Carné's first film, a short documentary from 1929 called Nogent, eldorado du dimanche (Nogent, Eldorado of Sunday) had not been particularly interesting
Andrew Bujalski's one of the most distinctive directors of drama to emerge in the last decade. The elements that define his work are instantly recognizable: the abrupt starts and stops (those words seem
Just a very quick Daily roundup from within the Rotterdam maelstrom. First and foremost, a new issue of Bright Lights Film Journal is up - but hold on, as editor Gary Morris explains, there's more
A single 8mm shot lasting a mere 3 minutes, Winde’s Bliss bursts out of the screen as the simplest and most modest film at Rotterdam, but perhaps is also the one that speaks for and about all other