A longtime favorite filmmaker at InRO, this writer had only seen one work by Nicolás Pereda, Minotaur (2015) — a surreal exploration of stasis and…
Karim Lakzadeh seems to be someone who takes his competition titles very seriously. His latest film, Living Twice, Dying Thrice (LTDT from now on), premiering…
Museums always claim to be the home for lost religious art/anthropological objects — Alain Resnais’ and Chris Marker’s Statues Also Die tackled this patronizing and…
For an artist whose conceptions of cinema constantly evolved with the developing technologies and audiovisual forms, it’s a bit of a shame that Ken Jacobs’…
Amit Dutta’s fluid conception of art forms extends to the way he conceives of artists as well. Not bound by standardized, snobbish definitions that often…
Rithy Panh, the relentless chronicler of the atrocities perpetrated by the Khmer Rouge, shifts his attention to another kind of destruction in his latest film,…
Ashish Avikunthak’s films, like many Asian and African avant-garde films, unfortunately find themselves caught in a tangle of categorization problems when playing in Western festivals.…
One of the difficulties of navigating the Rotterdam Film Festival as a cinephile is the sheer sprawl of its sections, both in terms of older…
Among all the defenses for art (as if art ever needed defending), the “timeless and universal” argument has the biggest currency. In this argument, human…
Jonathan Rosenbaum included an anecdote on Paul Schrader when writing about the revival of Robert Bresson’s first feature, Les Affaires Publiques (1934). As always, Schrader…
Long takes involving medium-to-wide shots of landscapes have nearly cemented themselves as festival-cinema staples, so it’s not surprising to see an IFFR Tiger competition film,…
Traditionally, dramas dealing with characters moving on from relationships follow a three-part structure: the chronicling of the youthful highs of the first passionate relationship and…
As much as critics have lapped up Egoyan’s description of Exotica as an “emotional striptease,” lauding the film for gradually unveiling the layers behind the…
Inland Empire is to Mulholland Drive how Twin Peaks: The Return is to the first two seasons of Twin Peaks — a film/TV series about…
While production houses continue to mine disparate art forms for content, the question of how to transpose the art of one medium onto another often…
The films of Amit Dutta have always been concerned with exploring and re-imagining art forms through cinema, deepening the possibilities of both the art and…
A cause celebre the moment the trailer was released, Bad Girl prompted attacks on its more famous producer, the director Vetrimaaran, for portraying oppression in…
The films of Hou Hsiao-Hsien are generally centered on the collision and convergence of multiple historical forces reshaping the “present” in their image, where a…
As with all great films, crime dramas, at their best, are much more than the machinations of their dense plots. Some of these films contain…
The superficial recreations of the Wes Anderson AestheticTM have kickstarted a new metric in art evaluation based on their ease of A.I. appropriation. While A.I.…
Ever since its explosion into the Hollywood mainstream, and that of its globalized imitators, in the 21st century, hyperlink cinema has become one of the…