Berlinale 2013. Impressions #3
Adam CookThoughts on the latest from James Benning, the Sensory Ethnography Lab, and Dumont & Binoche’s Camille Claudel, 1915.
Thoughts on the latest from James Benning, the Sensory Ethnography Lab, and Dumont & Binoche’s Camille Claudel, 1915.
The Museum of the Moving Image’s First Look series provides a strong, welcome antidote to January’s anemic cinematic landscape.
Sundance’s lineup, The New York Film Critics Circle Awards, The Museum of the Moving Image’s First Look series, new Shane Carruth, & more.
Also: Girish Shambu on the video essay, Brian Darr on Méliès, Kurt Jensen on Mamoulian and more.
Also: Serge Daney’s postcards, Rick Moody on “cryptofascist” Hollywood and Jana Prikryl on Errol Morris.
A remarkable debut and films by Bruno Dumont, Andrei Zvyagintsev, Joachim Trier and more from our first report from Toronto.
The third part of a video interview series from Cannes by myself and Ryland Walker Knight.
Updated through 5/19. "French director Bruno Dumont may not make religious films as such — perhaps it’s truer to say, theological ones." Jonathan Romney for Screen: "Certainly, he makes
"What is the famed 'Lubitsch touch' if not the quiet thrill of being in on the joke?" asks Matthew Connolly in Slant. "The director's penchant for sly elisions — the knowing pan away from imminent
Above: Pema Tsedan’s The Search. Now that the red carpets on Leicester Square have furled, the maddening din over square-jawed celebrities, and anthropomorphic foxes recede into distant memory, we can
An interview with the director about his film Hadewijch.
"Following in the grand tradition of austere European filmmakers, Bruno Dumont gives religious faith quite a workout in his new film, Hadewijch," writes Michael Koresky at indieWIRE. "Not that this