In Reverse Shot, Nick Pinkerton interviews Tsai Ming-liang:
"RS: In the inverse of the usual career trajectory, you have been making shorts far more proficiently than features lately. Why has that been? What are some advantages of the short format?
Tsai: What is a short film? What is a long film? After Face, four years passed until I filmed Stray Dogs. Many people thought I had retired, but I actually never stopped. Because of various opportunities which presented themselves to me, I have made films of different lengths using different formats and techniques, and for different screening platforms. Stray Dogs was shown in galleries in Taiwan. We made the projection screen out of crumpled paper used to cover the stage. Each shot was a separate projection, and audiences could go up and touch the screens. At times like these, don’t you feel like cinema has been liberated?"
Above: the jury for this year's Cannes Film Festival has been unveiled.
In his latest piece for Movie Morlocks, R. Emmet Sweeney writes on Carol Reed's Odd Man Out, recently put out by the Criterion Collection:
"Odd Man Out has an absence at its center. It stars James Mason as a revolutionary in Northern Ireland, but he is either missing or comatose for the majority of its running time. A scattered group of fringe players search for his body, from IRA fellow travelers to middle-class families to eccentric bird merchants. What emerges is a portrait of a stunned post-WWII Belfast, tired of violence but in no hurry to pass Mason off to the cops. It is either sympathy or indolence that keeps him alive, as his husk is passed from alley to bar and finally, to the docks. The city’s cavernous, emptied out streets are the setting for Mason’s absolution. For though he is a murderer, Mason’s beatific, radiant performance gives his character a saintly aura, as if taking on the sins of the post-war world."
Above: Adrian Curry's latest image from his "Movie Marquees" Tumblr—this one is of Jacques Becker’s Antoine et Antoinette.
Richard Brody finds what's wrong with French cinema today in Olivier Assayas's Clouds of Sils Maria.
In a Sight & Sound web exclusive, Trevor Johnston writes on Vitor Gonçalves's The Invisible Life and A Girl in Summer, and shares some words from the director himself:
"...the time has come for overdue recognition for this considerable talent, whose work combines a searching, inward examination of individual doubts and uncertainties with a very apposite rendering of their particular social context in a Portugal gingerly emerging from its colonial past, and now facing economic hardship threatening the very fabric of the nation."
For Film Comment, Jackson Arn considers Steven Soderbergh's recut of 2001: A Space Odyssey.
Lastly, in case you missed it, our trailer for the films of Jean Rollin: Master of Erotic Horror, playing now on MUBI in the U.S.:
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