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.
Here's the last round of reviews from the Young Critics at Film Fest Gent! Jonah Simanjuntak on Kôji Fukada's Harmonium.
Here's the last round of reviews from the Young Critics at Film Fest Gent! Michaël Van Remoortere on Kiyoshi Kurosawa's Le secret de la chambre noire.
Here's the last round of reviews from the Young Critics at Film Fest Gent! Sofie Steenhaut on Marco Bellocchio's Fai bei sogni.
Here's the last round of reviews from the Young Critics at Film Fest Gent! Zosha Millman on Kristina Grozeva and Petar Valchanov's Glory: "While perhaps a bit of the moment, with its fidgety, manic camera movements, intensely holding on to the players as they deal with their tangled web, directors Kristina Grozeva and Petar Valchanov use the handheld style to find natural humor and character beats within their story."
Carlos Kong on Radu Jude's Scarred Hearts: "The enervating and enlivening absurdity of life theatricalized in Jude’s film is both solemn and darkly humorous. As Emmanuel’s father reassuringly exclaims upon bringing his son to the sanatorium, “Patients lead normal lives here. They go out, listen to music. They just have to lie down. You can even drive a carriage reclining.” Horizontality normalizes the debilitating alterity of illness in Scarred Hearts, creating a compelling visual choreography of beds and bodies in which reality is unfolding and simultaneously taking place elsewhere."
For the Young Critics Workshop at Film Fest Gent, Michaël Van Remoortere wrote about Katell Quillévéré's Réparer les vivants: "What we are basically talking about here is the question of what constitutes a movie as a work of art instead of a 'mere' piece of entertainment and who's to decide this. A touching story isn't enough, especially when, like Réparer les vivants, there's already a book at our disposal. Movies shouldn't just be retelling stories for an audience that is too lazy to read. And that's how a quintessentially mediocre movie brought us to the age-old question of what cinema really is."
At Film Fest Gent, Young Critic Sofie Steenhaut was struck by the inventive use of color in Kôji Fukada's Harmonium and decided to explore its palette in depth.
The Young Critics Workshop at Film Fest Gent is in full swing! Jonah Simanjuntak on Kristina Grozeva and Petar Valchanov’s Glory: "Grozeva and Valchanov’s naturalistic style of filmmaking has been compared with the Dardennes’ movies before, the lack of a score and the grainy, handheld cinematography being the most obvious elements to spot. As far as plot goes, both director duos are interested in a deterministic view on social issues, but the way in which they approach these are vastly different. Where there rarely is any humor in the Dardennes’ films, much of what makes Glory so enjoyable comes from the frankly hilarious situations, taken from real life, which characters get wrapped up in. Finding oneself pants down in an office is a recurring theme in the film, for example."