The cinephiliac moment is not grand or dramatic, nor carefully designed and choreographed to be memorable, but rather marginal or accidental, a moment that is remembered almost in spite of itself. A fleeting moment that triggers an affective, emotional intensity, which embodies each cinephile's obsessive relationship with cinema.
Sofie Steenhaut examines the use of new media in current cinema, citing Assayas' Personal Shopper (2016) and Carlos Marques-Marcet's 10.000 km (2014) among others: "In our fragmented and distracted lives, we constantly switch from online to offline, from text to video back to offline reality. In this respect new media layers, when applied properly, shouldn’t take us ‘out’ of the film; they should even heighten a certain sense of realism. Experimenting with new media is therefore an interesting route to translating our mediated and distracted state of mind on screen."
"In the various moments that Simo and his brother look out of the opened windows, their wobbly reflections double back onto themselves in the glass panes to underscore their estrangement from the outside world and the insurmountable distance from the graspable hope that it could potentially offer. Orthogonal grids of shadows from the window blinds are often cast onto Simo and his brother’s faces, further likening the apartment to the prison cell that awaits Simo’s brother. The foreboding present and future of incarceration in Concrete Night is written in the light of reflections and shadows."
Carlos Kong analyzes the visual and narrative structure of Pirjo Honkasalo’s Concrete Night (2013), finding dualities of lightness and darkness, freedom and imprisonment, hope and fear.
"And so at the end of A Quiet Passion Emily is mourned by her family, while Lemonade leaves Beyoncé finding the truth beneath the lies, moving past hurt and into formation. Where one woman’s source of creative drive came from examining and celebrating her marriage, another’s came from rejection of the concept."
Zosha Millman links Terence Davies' A Quiet Passion (2016) to Beyoncé's Lemonade (2016) by examining both films' take on feminism, marriage and independence.
"When we watch Austerlitz, we watch ourselves watching ourselves and this has been the purpose of art for as long as it exists. When we stare into Austerlitz, we stare into the Nietzschean abyss that lies at the core of mankind."
Michaël Van Remoortere takes us from Sergei Loznitsa's Austerlitz to Nazi propaganda, Schindler's List, La vita è bella and back to Austerlitz, by way of mythology and memory.
"In limitations he first shows himself the master," Goethe wrote. Jonah Simanjuntak explores how self-imposed limitations foster creativity in Mohamed Diab's Clash.
We are delighted to host Rik Chaubet's video essay on Buster Keaton's relation to the mechanical, in anticipation of the 64th COFIB weekend seminar on Keaton's oeuvre and legacy, November 18-20, Neerpelt (Belgium).
Here's the last round of reviews from the Young Critics at Film Fest Gent! Carlos Kong on Ivo M. Ferreira’s Cartas da Guerra.