In 2008, I saw Jia Zhangke’s film Still Life, and it changed my life. I had never seen a film that had affected me so intensely and knew that, after that moment, I needed to research this director and his films further. What impacted me the most about Jia’s films were their emotional and affective qualities, and how they evoked feelings that lingered long after the films had ended.
By Calum Waddell With the recent release of the trailer for the upcoming Halloween reboot, Michael Myers and his perennial victim Jamie Lee Curtis have been back in the mainstream public conscience for the first time since 1998, when the…
An extract from the introduction of Genre, Authorship and Contemporary Women Filmmakers By Katarzyna Paszkiewicz I don’t think I’ve read the words women and film and feminism in the same sentence as much in the last few months since…
In James Benning’s film Concord Woods (2014), we watch a replica of Henry David Thoreau’s famous cabin at Walden Pond. The cabin is first shown during the summer solstice, graced by the golden sunlight. The shot lingers for sixty minutes…
The 2017 Eurovision Song Contest was won this year by Portugal’s entry, with a singer called Salvador Sobral, who sang a simple, heartfelt song of love and loss. Over and against the elaborate stage mechanics and outlandish attempts at eclecticism…
Britain has long had a contradictory relationship to movie stardom, as two articles from the fan magazine Picturegoer, both by the same writer, both from 1943, eloquently demonstrate. In October, Lionel Collier had asked hopefully ‘are we making our own…
By Stefanie Van de Peer Negotiating Dissidence: The Pioneering Women of Arab Documentary is publishing this month, and it’s a significant time for a book of this nature, with today being International Women’s Day. Several of the films discussed in the book…