Madwomen (and Men) in the Jungle: A Conversation with Chantal Akerman
Darren HughesAkerman’s Joseph Conrad adaptation sees its US release.
TIFF 2011
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Dialogue as Context: A Conversation with Santiago Mitre
Michael GuillenAn interview with the Argentine director of the Locarno, TIFF and NYFF-selected film, El Estudiante.
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NYFF 2011. Mojtaba Mirtahmasb and Jafar Panahi's "This Is Not a Film"
David HudsonA ‘micro-scaled masterpiece… that makes Panahi’s artistry all the more heartening and his imprisonment all the more infuriating."
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Tacita Dean's "Film" and "Edwin Parker"
David HudsonWith Film, Tacita Dean becomes the 12th artist to fill the cavernous Turbine hall for Tate Modern’s Unilever series.
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Venice, Toronto, Vancouver 2011. Johnnie To's "Life Without Principle"
David Hudson“Relentless and exciting, and expansive in its critique of the various ways institutions screw the individual.”
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Naked Repose: A Conversation with James Benning about "Twenty Cigarettes"
Darren HughesDiscussing the “real face,” his life and work, and stories about the smokers in his video project.
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NYFF 2011. James Benning's "Twenty Cigarettes"
David HudsonSomewhere “between ‘hypnotically fascinating’ and ‘squalidly tedious.’”
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NYFF 2011. Petzold, Graf and Hochhäusler's "Dreileben"
David HudsonWhat’s fascinating is not only the impulse to rank the three the films of the trilogy but also how differently various critics do.
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Scary Monsters and Midnight Madness
David HudsonFor many cinephiles, Halloween is a season, not an eve, and it begins today. Also: Wrapping Toronto’s Midnight Madness program.
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NYFF 2011. Lars von Trier's "Melancholia"
David Hudson“Subtle, charming, sympathetic.” “Ridiculous, often quite boring.” “Stupendous, imaginative, weird, outlandish.” “Artistic elephantiasis.”
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Adam Wingard's "You're Next"
David HudsonWingard and Simon Barrett’s followup to A Horrible Way to Die has swept the Fantastic Fest awards.
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Wei Te-sheng's "Warriors of the Rainbow: Seediq Bale"
David HudsonMight the 4½-hour version now playing in Taiwan “feel” shorter than the 2½-hour cut screened in Venice and Toronto?