Chamber pieces are a strange cinematic genre. As is often the case with one-location films, it might be tempting to say that the genre belongs more in theatre than it does cinema, but when you begin to measure the challenge of making a setting as interesting as the characters inhabiting it, a rather high bar is set. The filmmakers behind “Spaces Underlined” have grappled with that challenge three times over in an anthology of short stories, each a two-hander confined to different types of bedroom: first, a place of childhood tranquility, then a filthy college dormroom, and finally, a luxury hotel room. Does each tale meet the intimate challenge ahead of them? Despite some varying degrees of success, the answer is fortunately yes.
“Spaces Underlined” review is part of the Submit Your Film Initiative
The first short (Vania Qanita Damayanti's “The Room Was Shaken By an Earthquake”) sees two...
“Spaces Underlined” review is part of the Submit Your Film Initiative
The first short (Vania Qanita Damayanti's “The Room Was Shaken By an Earthquake”) sees two...
- 7/7/2023
- by Simon Ramshaw
- AsianMoviePulse
Jonas Mekas' As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty(2000) is showing April 3 - May 3, 2018 in the United Kingdom.“Dear Mrs. S.: Life is going on. Nothing new, but we are very busy. Factories and our film obsessions. We have joined a couple of experimental film clubs, just to find out more about what’s going on and to meet people. We even screened some of our footage for them.”—Jonas Mekas, I Had Nowhere to GoFrom those inauspicious beginnings, Jonas Mekas became the man regularly referred to as the godfather of the American avant-garde. His films were landmarks of the independent film scene, essayistic diaries that bristled against the prescriptions of commercial cinema but more importantly brimmed with vitality. Like kaleidoscopic patchworks of New York life they shared intimate moments and gave—indeed continue to give—an evocative glimpse into a teeming cultural epoch.
- 4/29/2018
- MUBI
Jonas Mekas' As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000) is showing April 3 - May 3, 2018 in the United Kingdom."I have never been able, really, to figure out where my life begins and where it ends. I have never, ever been able to figure it all out – what it’s all about, what it all means. So when I began, now, to put all these rolls of film together, the first idea was to keep them chronological, but then I gave up; and I just began splicing them together by chance – the way that I found the on the shelf…. There is some kind of order in it, an order of its own, which I do not really understand, same as I never understood life…"So begins Lithuanian American filmmaker Jonas Mekas’s As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty.
- 4/18/2018
- MUBI
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
To commemorate her passing, free screenings of Chantal Akerman‘s Jeanne Dielman (on 35mm) and her self-portrait Chantal Akerman by Chantal Akerman will screen for free on Friday.
Hou Hsiao-hsien‘s The Boys from Fengkuei will play on Friday night, with Hou making an appearance.
Museum of the Moving...
Film Society of Lincoln Center
To commemorate her passing, free screenings of Chantal Akerman‘s Jeanne Dielman (on 35mm) and her self-portrait Chantal Akerman by Chantal Akerman will screen for free on Friday.
Hou Hsiao-hsien‘s The Boys from Fengkuei will play on Friday night, with Hou making an appearance.
Museum of the Moving...
- 10/9/2015
- by Nick Newman
- The Film Stage
There is a case to be made for home movies as the purest form of cinema. It’s folly, of course, to pit films against one another based on the circumstances under which they were made; to argue what is realer, and thus more valid, than the other. In a camera’s lens, especially, the lines of truth and lies blur and overlap. It’s just that in what we believe to be reality the stakes are always higher, the emotions elevated. One of the first films ever made, the Lumière brothers’ L'arrivée d'un train à La Ciotat, was a succinct 56 seconds that depicted the arrival of a train at its station in Lyon, France. When it was first shown to the public it was the audience’s virgin film-viewing experience, and it was reported that many were frightened by the illusion that the train was coming straight for them.
- 6/29/2015
- by Oliver Skinner
- MUBI
Adieu au langageWhen I stumbled out of the theatre after my first viewing of Jean-Luc Godard’s newest film, Adieu au langage—which will be released on home video by Kino Lorber on April 14—I felt that nagging feeling that only a few films can give. That feeling isn’t necessarily limited to great or even good films, but belongs instead to a certain special, disparate troupe. I left feeling that Godard had made a film that wanted to think about film in some way, aligning itself with the films that made their ways into books of philosophy by film theorists Noël Carroll and Stanley Cavell.Admittedly, there’s a danger in these feelings. Adieu au langage, as well as the whole lot of these “thinking” films, could simply be playfully “meta,” purposefully toying with the conversations that critics and academics love. Maybe I’ve just taken the filmmaker’s bait here,...
- 4/14/2015
- by Zach Lewis
- MUBI
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