LOLA. A New Film Journal
David HudsonAdrian Martin and Girish Shambu launch a new film journal: LOLA.
Lucrecia Martel
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Reverse Shot, Berlin & Beyond
David Hudson"For our 28th symposium, Reverse Shot's American All-Stars, we asked our writers to pick a contemporary filmmaker from a Latin American country who they'd like to champion; this could trigger a
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Cineaste, N1FR, frieze
David HudsonCineaste grapples with politics even more than usual in its Fall 2010 issue, n+1's new online film review is unlike any other — in a good way — and frieze's selection for its "Life in Film" column
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Senses of Cinema, "The White Ribbon," DVDs
David HudsonIt's a busy Wednesday between Christmas and New Year's, with film journals posting new issues, a handful of films opening in theaters and another notable handful just out on DVD. And all along, of
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The Auteurs Daily: Three Husbands and One Headless Woman
David Hudson"Like my other films, The Headless Woman doesn't end in the moment that the lights go up, it ends one or two days later," Lucrecia Martel tells Chris Wisniewski in Reverse Shot. "In each of Martel
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Introducing The Auteurs Daily
David HudsonSo. Where were we? Right, I was saying that I'd "been dreaming up a new format and, if all goes according to plan, it'll be rolling out slowly in two phases." Well, plans change. In this case, for the
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Dread Desert, Part II: a conversation with Lucrecia Martel
Daniel KasmanJ. Hoberman once said that "to not get Bresson is to not get the idea of motion pictures," and that's a fine assertion (and judgment) and all, but really it isn't risking much. The same could obviously
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Dread Desert, Part I: "The Headless Woman" (Martel, Argentina)
David PhelpsImagine that we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind a door. In an instant the room we are sitting in is completely altered; everything in it has taken
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Cannes Film Festival, 2008: "The Headless Woman" (Martel, Argentina)
Daniel KasmanAbove: Vero (María Onetto) in one of the film's many emblematic, ghostly uses of foreground and background in its compositions. Argentinian director Lucrecia Martel (The Holy Girl, La Ciénaga) curls
