Unspoken Cinema

"Abstract Antony Fiant proposes, in order to account for a new type of auteur cinema — almost always narrative but extremely minimalist — the term subtractive cinema, defined as that which features «[m]oins d'histoire, moins de scénario, moins de récit, moins de parole, moins de musique, moins de décors, des personnages moins définis, moins de rythme effréné, moins de plans...» (2013: 12). The term stands in contrast to other proposals such as slow cinema (Jonathan Romney, 2010, among many others), CCC or contemporary contemplative cinema (Harry Tuttle, 2010), post-narrative cinema (Horacio Muñoz, 2017), or cinema of absence (Jaime Pena, 2020). In order to expand upon this notion, this dissertation aims to ground subtraction in one of the key philosophers that, according to Fiant, is essential for understanding his category: Gilles Deleuze (1984 and 1987a). For Deleuze, subtraction functions as a fundamental process in the logic of images and their irruption into the world, an...

 "[..] While in college, I embarked upon a love affair with “Contemporary Contemplative Cinema” or what has come to be more frequently called “slow cinema” (a term that I think greatly misrepresents what I found so intriguing and invigorating about the films). I was enamored with two filmmakers in particular: Chantal Akerman and Tsai Ming-Liang. So, when faced with the standard post-graduation crisis, I made the obvious decision. Move to Taiwan in the hopes of finding a way into that specific film industry, and maybe even on to the set of one of Tsai’s films.  That never happened. Though I did find myself at the premiere screening of what was, at the time, his purported final film Stray Dogs. I watched a beautiful 35mm print of I Don’t Want To Sleep Alone that had no subtitles, and listened to an hourlong Q+A with Tsai, without an interpreter, and thus gleaned almost no valuable information. I sat in some of the seats from the torn down Fu-Ho theatre, where Goodbye, Dragon Inn...

  Walking Tour 🇸🇪 | Stockholm | 4K | Urban Street Stroll (YouTube) 34'29" (Silent Step) 2 Nov 2026 "Take a peaceful city walk through beautiful Stockholm, Sweden. In this silent walking tour, we explore the city's streets, parks, and hidden corners — with no talking, just natural city sounds. Perfect for ASMR lovers, travelers, and anyone who loves urban exploration. Enjoy the sights and sounds of Stockholm with Silent Steps. Slow down, relax, and experience the beauty of everyday life through this quiet city walk."

  How To Make "Nothing" Look Extraordinary (YouTube) 15'23" (Tatiana Hopper) 25 Oct 2026 "In this video, we explore the cinematic visual language of legendary director and photographer Wim Wenders (Paris, Texas, The American Friend, Perfect Days). What can cinema teach us about still images? Join me as we break down why you need to stop treating the environment as merely a background, and how place can become an emotional mirror for your subject. We examine how Wenders and cinematographer Robby Müller used color as narrative information rather than a decorative palette, how Perfect Days reveals the extraordinary hidden inside everyday repetition (just like street legend Fan Ho), and how Wenders' own photo books—like Written in the West—prove that a true way of seeing transcends any single medium."

  The films people abandon but shouldn't | Episode 1 | Béla Tarr (YouTube) 6'05" (Lallan Chitra) 13 May 2026 "Ever wondered why some films are perceived as boring, yet audiences continue to watch them? This video explores the concept of "boring movies" and how our expectations shape our viewing experience. We dive into the world of slow cinema and discuss what makes a "bored film" resonate with some viewers, challenging traditional notions of entertainment." Films Shown: Damnation (1988) Sátántangó (1994) Werckmeister Harmonies (2000) The Turin Horse (2011)

  Canal - slow cinema film (YouTube) 18'25" (Charles Eades - Writer and Filmmaker) 8 July 2026 "Canal is a video reflection on a place that has held a great deal of significance for me growing up, Macclesfield Canal. Commissioned for the Barnaby Festival 2020."

  Rebonds - L'Humanité et la recherche de Bruno Dumont (YouTube) 36'38" (Critikat) 27 Octobre 2026 "La filmographie de Bruno Dumont semble de prime abord coupée en deux, entre une première moitié placée sous le soleil froid de Bresson et de Dreyer, et une seconde, à partir de "P'tit Quinquin", qui fait exploser les coutures de son esthétique. La sortie de "Les Roches rouges" nous a semblé toutefois battre en brèche cette segmentation et il nous fallait revenir au Dumont première manière, pour le voir sous un autre œil. Dans ce nouvel épisode de Rebonds, on parle donc de "L'Humanité", son film le plus fascinant, non pour épuiser ses mystères, mais pour tenter de circonscrire l'objet d'une recherche qui anime encore aujourd'hui le cinéaste. Pour nous soutenir : Avec : Josué Morel et Robin Vaz. Image et montage : Clément Colliaux. Musique : Emile Petitperrin. © Critikat 2026"

  Les Roches rouges (Bruno Dumont, 2026) par Mathieu Macheret (YouTube) 1h04'51" (CDA Cinéma) 20 Oct 2026 "Cycle "Nouveaux films, nouveaux regards (saison 5)" — S05E02 Critique et analyse du film "Les Roches rouges" (Bruno Dumont, 2026) par Mathieu Macheret dans le cadre de la saison 2026-2027 au Centre des arts d'Enghien-les-Bains. Mathieu Macheret est critique de cinéma au journal Le Monde. Enregistrement intégral de son intervention le 18 octobre 2026.""

  The Japanese Art of Leaving Things Unseen (YouTube) 9'14" (Dans le gris) 15 oct 2026

  The Cinema of Presence by Carlos Reygadas (YouTube) 8'04" (Missed Movies New Wave) 11 Oct 2026

Belated addition to the Library page on Unspoken Cinema: "[..] Whether we consider the ways in which they downplay or disregard human presence, their play on scale, stillness and laconism, or their adherence to unbroken shots with little by way of action – in short, their sensory-observational approach – we conclude these cinemas are not so easily accommodated or suited to the distracted modes of fi lm reception prevailing in our day. They express a yearning to reclaim the phenomenology of the fi lm experience whose ideal site is the fi lm theatre, which in turn becomes a space of retreat and refl ection in the context of realities in relentless transformations – the same realities these cinemas so intently look at through comparable stylistic approaches. On the one hand, as we have seen, the cinemas of Reygadas, Tsai and Van Sant are fundamentally cinephile projects, and testify to a self-conscious quest to rework and expand upon dissimilar fi lm schools: metaphysical realism in...

  "La Saveur de la Pastèque" présenté par Jean Douchet (YouTube) 24'47" (CineClubJeanDouchet) 17 mai 2013 Projection le mercredi 15 mai 2013 au Centre des arts d'Enghien-les-Bains. Suivi d'un débat animé par Jean Douchet. En collaboration avec la médiathèque George Sand.

  Finding Peace: A Moody Rainy Day Walk (YouTube) 2'47" (Shameem Ahmed) 8 sept 2026 "The Rain Doesn't Ask to Be Remembered is a contemplative monsoon film that invites you to immerse yourself in the serene beauty of the Indian countryside. Shot on the Sony FX3, this cinematic short film takes you on a peaceful journey through the rolling hills and along the banks of the Ganga River, capturing the majesty of the monsoon rain in a way that is both visually stunning and deeply calming. With a focus on slow cinema and a carefully crafted visual essay, this film is perfect for those who appreciate the simple joys of walking in the rain and finding solace in the rain ambience. The premiere pro color grade adds a touch of warmth and depth to the footage, making this monsoon short film a must-watch for travel filmmakers and anyone who loves cinematic monsoon scenes. As the rain falls gently on the countryside, it's a reminder that some moments are meant to be savored, no...

  Duration: The Last Craft a Machine Cannot Fake (YouTube) 7'25" (The Algorithmic Auteur) 27 sept 2026  "A held shot moves the labour of meaning from the film to the viewer. That transfer cannot be automated. Every frame in this video is from my own films — Mülksüzler / The Dispossessed (2014) and Frames (2021) No stock, no generated footage, no third-party clips."