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.
Anke Brouwers describes Mary Pickford’s 1920 Pollyanna as the perfect mix of tears and laughter. But in this blog post she also defends the movie by pointing out its historical significance, from it being Pickford’s first release through United Artists to it being independently produced by a woman.
If she has convinced you to go and see this movie, good news! It has been stunningly restored by Cinematek and will be screened on April 1st in Flagey in Brussels, accompanied by a newly composed score by Lode Mertens.
Gertjan Willems decodes Jean-Marie Straub's latest, Kommunisten, soon to be screened at Courtisane festival.
Tom Paulus analyzes the clash of styles and formal structures in the most recent films of two spearheads of the ‘slow’ cinema movement, Wang Bing and Lav Diaz.
The inaugural issue of Photogénie has once again been updated, this time with an essay by Malte Hagener, titled Cinephilia in the Age of the Post-Cinematographic!
Ruben Demasure looks back on his stint as a Young Critics Trainee at the International Film Festival Rotterdam and muses on the nature of the video-essay.