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However, it is just as fundamental to mention his constellation of creative collaborators in the same breath—most vitally Axelle Ropert, as well as Pierre Léon, and, at a little more distance, Aurélia Georges, Jean-Charles Fitoussi, and Jean-Paul Civeyrac.Their films are [...]By Andrew Tracy The overlap (or fusion) between genre and “art” cinema, and the language in which we discuss them, is one of the defining traits of contemporary cinephilia and criticism.
Hollis Frampton might well have been describing Russell’s work when he defined invention as “the vivid primary instantiation of a compositional strategy deriving from a direct insight into the creative process itself.” Structuralist in their conceptual clarity and [...]By Chuck Stephens Apichatpong Weerasethakul may be on a first0name basis with more people on the planet than any other Cannes-prizewinning filmmaker in history, but no matter how “average” Joe—or Joei, as he’s more recently taken to transliterating his nickname—might seem to become, he never begins to lose his heavenly glow, his beatific gleam.[...]By Mark Peranson “The famous saudade of the Portuguese is a vague and constant desire for something that does not and probably cannot exist, for something other than the present, a turning towards the past or towards the future; not an active discontent or poignant sadness but an indolent dreaming wistfulness.”—A. Bell, Portugal (1912), by [...]By Raya Martin There is much to be said about Carlos Reygadas—the way he shoots his lifeless sex scenes as class discourse, or the way he embraces his characters as milieus, and vice versa—but his greatest weapon is not his ability to achieve technical prowess with a relatively limited budget, nor his tributes to a [...]By Jason Mc Bride I’ve seen each of Kelly Reichardt’s feature films at least twice, but for some reason I can never really remember how they end.This despite the fact that they all end in roughly the same way: which is sort of not ending at all, with characters still in motion, heading somewhere, anywhere, [...]By Antoine Thirion Discovering Raya Martin’s work inevitably went hand in hand with questions about his age.The exquisite Valentin de las Sierras, Baillie’s ten-minute 1967 masterpiece—one of a series of extraordinary films (Quixote, 1965; Castro Street, 1966; Quick Billy, 1970) he made during the ‘60s—is structured around a well-known Mexican corrido about a man [...]By Albert Serra For China, Zhao Liang is the poet of justice.
All his works deal, directly or indirectly, with this topic with a distinctive gentleness.It turns out a woman died recently [...]By Kent Jones I have rarely been more surprised by a movie than I was by Maren Ade’s Everyone Else (2009).