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.
Young Critic alumnus Tobias Burms faced Offscreen 2016's neurotic women and grindhouse legends and came back with tales of a scuzzbucket version of La Passion de Jeanne d’Arc, late-night TV inspired thrillers and a purple-haired, eye-twitching sideshow act.
Tom Paulus revisits sadly departed Jacques Rivette, tracing his career in an aptly epic essay: "I’m not prepared to let Rivette go, because we’re a long way from being done with him. So revenons-en. The aspects of Rivette’s cinema I want to discuss – the role of the theatre, the conflation of classicism and modernism, the influence from surrealism and existentialism and the forking-path connections to Argentinian master-plotters Borges and Bioy Casares and the émigrés who helped establish their reputation in Paris – are all deeply entangled in the perod in which the films were made. Therefore, as with Out 1, some patience will have to be involved in sitting through it all…"
‘The man who desires to cease to be must cease to be perceived. If being is being perceived, to cease being is to cease to be perceived.’ - Samuel Beckett
Gertjan Willems reports on Film, Beckett's only venture into cinema, and the film essay NotFilm by its restorer Ross Lipman.
Film and NotFilm will be screened at Cinema Zuid in Antwerp on 27 April 2016.
"In their own stubborn, self-assured, sometimes eccentric and always norm-defying ways – these female film pioneers led active, sometimes successful, sometimes frustrating lives at the center (or at the fringes) of the new art and industry. What these women had in common was pluck, nerve, and persistence. Although much is already known about the lives of the famous actresses of the day, whose iconic presence and lingering fan-following make them easier to remember or visualize as active participants of cinema, women were also active in other creative fields. They were writers, title-writers, story editors, set dressers, choreographers, costume designers, directors, film editors, amateur filmmakers, dancers, critics, producers, even camera-operators (if only a few)."
Anke Brouwers on Mary Manning, Nell Shipman and Helen Gardner, just a few of the many women film pioneers that have been written out of cinema history.
"L’avenir does not preach but speaks to anyone with a heart and a brain willing to listen." Maximilien Proctor on letting go and on Mia Hansen-Løve’s latest, seen at the Berlinale 2016.
Maximilien Proctor reports on this year's Berlinale, honing in on films, moments or connections that struck a chord.
On Lav Diaz's Hele sa hiwagang hapis: "In one sense, the film may be viewed as an exercise in ‘letting go’ of a traditional concept of time. Injustice and cruelty are as old as time itself. In order to overcome them, we have to be willing to both accept the past has happened and recognize its continuing influence on the present. We must let go of our preoccupations with systematically organizing time, so that we might experience it."
Maximilien Proctor is reporting from this year's Berlinale, where he met with Terence Davies to talk about his latest film, A Quiet Passion:
"That’s the joy of the terror of editing; it has to be spontaneous. Things happen that you hadn’t thought of, and that’s what I love: some tiny thing which on a stage wouldn’t even be noticed… The one that always strikes me (and I’ve seen it now hundreds of times) is when the mother has a stroke and she’s lying on the bed and she just goes like this [miming a small movement]. You can’t direct that. That’s… I don’t believe in God but somebody’s looking down, giving you that."
Maximilien Proctor is reporting from this year's Berlinale, honing in on films, moments or connections that strike a chord.
On Jeff Nichols' Midnight Special: "Slowly and without warning, the shot lifts up from off of the road and soars above the tree-line. From this new and elevated vantage point, the image of an empty street is replaced by a sky populated by helicopters. The literal content speaks to the military trouble our characters face, but the metaphor is for a human interest in ascending to transcendence."