For the rest of the Notebook's Fantasy Double Features of 2012, see the poll's main index.
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New: Far from Afghanistan (John Gianvito, Jon Jost, Minda Martin, Soon-Mi Yoo, Travis Wilkerson)
Old: Allons enfants... pour L'Algerie (Karl Gass, 1961)
Two works of international(ist) solidarity made exactly half a century apart (Far from Afghanistan was already shown on the net last year in the so-called October Version), both dealing with a colonial war and its ramifications for the victim—as well the aggressor and collaborator state. Two works, also, of fragmentation, multitudes of voices, dialectic pluralism; Gass sub-divided his film into three parts (actually, it's more like two halves and a coda), while the Gianvito-masterminded project consists of five quasi-independent segments (working also quite well as stand-alone shorts) plus half a dozen interludes. Yet, in one—maybe the most—crucial way they're light years apart: Gass lays it down smack from the center...
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New: Far from Afghanistan (John Gianvito, Jon Jost, Minda Martin, Soon-Mi Yoo, Travis Wilkerson)
Old: Allons enfants... pour L'Algerie (Karl Gass, 1961)
Two works of international(ist) solidarity made exactly half a century apart (Far from Afghanistan was already shown on the net last year in the so-called October Version), both dealing with a colonial war and its ramifications for the victim—as well the aggressor and collaborator state. Two works, also, of fragmentation, multitudes of voices, dialectic pluralism; Gass sub-divided his film into three parts (actually, it's more like two halves and a coda), while the Gianvito-masterminded project consists of five quasi-independent segments (working also quite well as stand-alone shorts) plus half a dozen interludes. Yet, in one—maybe the most—crucial way they're light years apart: Gass lays it down smack from the center...
- 1/7/2013
- by The Ferroni Brigade
- MUBI
Above: Director Nicolas Rey and a 16mm contact printer.
The most mysterious encounter I had at the Toronto International Film Festival was with Nicolas Rey's differently, Molussia, a 16mm feature film in the Wavelengths section that will be playing at the New York Film Festival in its Views from the Avant-Garde sidebar. The film adapts a book by German philosopher Günther Anders that the filmmaker has never read. In truth, the mystery is probably in the echoing series of encounters within the film, not just mine created by watching it. Rey, widely familiar with Anders' philosophical writings, only had second hand access to the book upon which his film was based, the novel "The Molussian Catacomb", written in the 1930s, which takes the form of a dialog between two citizens of an imaginary fascist country, Molussia, which has striking similarities to the contemporary Germany of the time. Left unpublished throughout Anders' life,...
The most mysterious encounter I had at the Toronto International Film Festival was with Nicolas Rey's differently, Molussia, a 16mm feature film in the Wavelengths section that will be playing at the New York Film Festival in its Views from the Avant-Garde sidebar. The film adapts a book by German philosopher Günther Anders that the filmmaker has never read. In truth, the mystery is probably in the echoing series of encounters within the film, not just mine created by watching it. Rey, widely familiar with Anders' philosophical writings, only had second hand access to the book upon which his film was based, the novel "The Molussian Catacomb", written in the 1930s, which takes the form of a dialog between two citizens of an imaginary fascist country, Molussia, which has striking similarities to the contemporary Germany of the time. Left unpublished throughout Anders' life,...
- 10/4/2012
- by Daniel Kasman
- MUBI
As I mentioned in the preface to the first part of my Wavelengths preview (the one focusing on the short films), there are significant changes afoot in 2012. Until last year, the festival had a section known as Visions, which was the primary home for formally challenging cinema that nevertheless conformed to the basic tenets of arthouse and/or “festival” cinema (actors, scripting, 70+minute running time, and, once upon a time, 35mm presentation). This year, Wavelengths is both its former self, and it also contains the sort of work that Visions most likely would have housed. While in some respects this can seem to result in a kind of split personality for the section, it also means that Wavelengths, which has often been described as a sort of “festival within the festival,” has moved front and center. Films that would’ve occupied single slots in the older avant-Wavelengths model, like the...
- 9/12/2012
- MUBI
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