I saw Ben Rivers’ 16mm 2011 film Slow Action (UK) like I saw his 16mm 2010 film, in the video lab at Rotterdam. Some might say a disservice to a work; others may count themselves lucky it was digitized
Of Steel, Water, Fog and Air: The Final Fight in “Duel to the Death”
A question for you. In Pedicab Driver (Sammo Hung, 1989) the roly-poly Hung (star and director) crashes his bike, along with his girlfriend, through the window of a Macau gambling den after escaping
Up until my first afternoon at the International Film Festival Rotterdam (IFFR), I hadn’t seen a movie in 7 days—not any kind of accomplishment, personal or otherwise, but a distinct lag and
Movie Poster of the Week is off to the Rotterdam Film Festival, always a treasure trove of international arthouse film posters. This one sheet for Thai Tiger Award competitor Eternity already caught
"Forum Expanded has made the exploration of the boundaries and intersections between art and cinema a matter of course at film festivals," announced the Berlinale back in December. Today, the festival
The International Film Festival Rotterdam, marking its 40th year with a special XL edition, has lined up fourteen first or second features for its Tiger Awards Competition 2011. Three
Michael Atkinson in the Voice on Rabbit à la Berlin: "Rejiggering the history of postwar Germany into a Shel Silverstein-ish fairy tale about bunnies, Bartek Konopka's quasi-doc spins the unlikely
Trees of Syntax, Leaves of Axis (2009, 35mm, 10 minutes, colour, sound) by Daïchi Saïto, screened at the Lantaren Cinema during the Rotterdam Film Festival, as part of the strand, 'Exercises in
More of a supplement to Part 1 than a second half, this collection of roundups on films screening at Sundance, Rotterdam, Berlin and SXSW this year is simply the result of my looking back at those four
Cannes will announce its lineup on Thursday and speculation as to what'll be in and what'll be out has been bubbling along nicely — see, for example, Cineuropa, indieWIRE, ioncinema and the Playlist
Above: Guga Kotetishvili in the Georgian film Street Days. A week ago I worried about the implications of the International Film Festival Rotterdam's increasing propensity to rely on digital technology