“Above all, don’t lie to yourself. The man who lies to himself and listens to his own lie comes to a point that he cannot distinguish the truth within him, or around him, and so loses all respect for himself and for others. And having no respect he ceases to love.” Dostoevsky in The Brothers Karamazov. The above quote from Dostoevsky’s masterful work, The Brothers … Continue reading Deception and False Uptopia in the Films of Yorgos Lanthimos (Dogtooth, Alps).
Terrible things can happen in environments that allow people to step-back from consequences; this is the first step in most types of crime and film noir pictures. But to simply place Claire Denis’ latest film, Bastards (2014), into one of these categories just for the ease of categorisation does it little justice. Denis’ film has more to its narrative than its surface layer shadow but … Continue reading Bastards (Claire Denis, 2014) – Oily Depths and Blank Walls.
In contrast to other cineastes that I follow online, I really don’t get out that much. While so many excellent film writers seem to be able to see every relevant new release as it comes (even before if they’re lucky enough to have time and money to get thoroughly into the festival circuit), it’s actually a rarity for me to be able to get into … Continue reading 2013 in Film.
It occurred one Saturday afternoon that my own deep and personal mourning for the innocent VHS had found a new low. When describing VHS to people who appear to be gradually younger and younger, it mimics those conversations witnessed with parents, explaining to their I-pod bound offspring what the big black thing is that’s playing a crackly, slightly warped version of Shine on You Crazy … Continue reading Graveyard of the VHS.
It hasn’t taken long for the medium of VHS to enter the realm of retrograde chic. During the 2010 Liverpool Biennal Contemporary Arts festival, one of the main pieces that stood out was actually an independent sculpture made entirely for VHS cassettes; spools of tape spilling out onto the floor while Videodrome-like screens played fuzzy images of recorded images. The medium now occupies that same … Continue reading Hidden (2005) And The Mysteries of VHS Aesthetics – Michael Haneke
Writing about a film such as Andrei Tarkovsky’s Stalker is not an easy task. Anyone with a pure and honest love for cinema will find Tarkovsky’s work in general to be awe inspiring, perhaps even approaching cinematic perfection. Stalker is something so ambitious in its message and graceful with its visuals, watching another film after it can be extremely trying, yet simply waxing lyrical about it wouldn’t do … Continue reading Stalker – Andrei Tarkovsky – (1979)
One of the more subtle directors to come from outside of the French New Wave pool, Robert Bresson is a director more concerned with issues and ideas than the visual experimentation that obsessed Godard or Truffaut. His 1959 film, Pickpocket, also shies away from the overtly political side of Alan Resnais and instead adopts an approach of social comment, which instantly seems refreshing. Pickpocket follows the Crime and … Continue reading Pickpocket – Robert Bresson (1959)