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Quand les vagues se retirent, de Lav DIAZ (Arte)

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  Quand les vagues se retirent | Film complet | ARTE Cinema (YouTube) 3h (ARTE Cinema) 16 avril 2026 Un film disponible jusqu'au 15/05/2026 Atteint d’une sévère affection dermatologique, un policier quitte son poste au moment où son ancien mentor, sorti de prison, se lance à sa poursuite pour l’exécuter... Dans un noir et blanc subtil, le cinéaste philippin Lav Diaz revient sur la décennie noire de la présidence Duterte. Un thriller-fleuve fascinant. Considéré comme le meilleur enquêteur de Manille, le lieutenant Hermes Papauran prodigue ses conseils aux jeunes recrues de l’école de police. Un matin, il trouve sur le tableau de sa classe un message l’accusant de violenter sa femme. Reconnaissant les faits, Hermes, atteint d’un douloureux psoriasis, décide de prendre subitement du champ. Mais alors qu’il finit par se réfugier chez sa sœur, dans leur village natal de San Isidoro, au bord de la mer, il est bientôt rattrapé par son passé… Crimes et châtiment Entre 2016 et 2022, le prés...
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Wang Bing (Arte)

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  Wang Bing filme la Chine qu’on cache sous le tapis | Tracks ARTE (YouTube) 8'49" (TRACKS - ARTE) 11 Fév 2021
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Sátántangó (Atherion) ESPAÑOL

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  otros modos de percibir el tiempo: Sátántangó (YouTube) 12'41" (Atherion) 15 Jan 2021
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Attraits de Zuchuat (Corentin Lê)

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Revue de presse du livre d'Olivier Zuchuat : Attraits de la durée (2025) dans la nouvelle revue en ligne critique et décoloniale, Emitaï : "Notre quiétude n’est que passagère Pour Olivier Zuchuat, si tous ces cinéastes s’épanouissent autant dans les interstices marginalisées du monde moderne, allant jusqu’à inventer des formes filmiques auprès des plus démuni·es, c’est entre autres car le cinéma, comme l’écrivait Jacques Rancière à propos de l’œuvre de Pedro Costa, « ne peut plus être l’art qui simplement rend aux humbles la richesse sensible de leur monde, [mais doit] consentir à n’être que la surface où cherche à se chiffrer en figures nouvelles l’expérience de ceux qui ont été relégués à la marge des circulations économiques et des trajectoires sociales ». [..]" Corentin Lê ; Attraits de la durée ; 3 avril 2026 in Emitaï Voir aussi sur Unspoken Cinema : Entretien Olivier Zuchuat (Microciné) Plans perdurant et points de montage (Olivier Zuchuat) Retrancher le monde. ...
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Contemplative Absence in Kiarostami (Hessam Abedini)

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"This article examines how Abbas Kiarostami’s The Wind Will Carry Us (1999) creates sacred experience through systematic absence within contemporary slow cinema aesthetics. While previous scholarship has focused on religious content in spiritual cinema, this analysis demonstrates how formal techniques—particularly strategic concealment and extended duration—generate contemplative states without explicit religious references. Drawing on Paul Schrader’s transcendental style theory and recent slow cinema scholarship, the article traces how Kiarostami adapts Persian poetic traditions, particularly concepts of pardeh (veiling) and the interplay between bāṭin (hidden) and ẓāhir (manifest), to create meaning through what remains unseen. The dying woman who never appears, the acousmatic voices of invisible characters, and the village spaces kept off-screen transform absence from lack into generative force. Through comparative analysis with international slow cinema practitioners like Bél...
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Première gorgée de bière (Delerm)

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"Au cinéma, on ne se découvre pas. On sort pour se cacher, pour se blottir, pour s’enfoncer." * * * "C'est facile, d'écosser les petits pois. Une pression du pouce sur la fente de la gousse et elle s'ouvre, docile, offerte. Quelques-unes, moins mûres, sont plus réticentes - une incision de l'ongle de l'index permet alors de déchirer le vert, et de sentir la mouillure et la chair dense, juste sous la peau faussement parcheminée. Après, on fait glisser les boules d'un seul doigt. La dernière est si minuscule. Parfois, on a envie de la croquer. Ce n'est pas bon, un peu amer, mais frais comme la cuisine de onze heures, cuisine de l'eau froide, des légumes épluchés - tous près, contre l'évier, quelques carottes nues brillent sur un torchon, finissent de sécher." Philippe Delerm, in " La première gorgée de bière et autres plaisirs minuscules " Lire aussi : “Philippe Delerm et le minimalisme positif” (Bertrand Rémi, 200...
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Mainstream Vs Contemplative Cinema (Pros & Cons)

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  CON (Mainstream) PRO (Contemplative Cinema) Expository Dialogue Discreet Body Language Serendipity Happenstance Real Life Minutiae Efficient Editing Patient Observation Manipulative Score Authentic Soundscape Stereotypical Mechanics Ambiguity Preservation Fabricated Dramaturgy Ordinary Agency Stressful Excitement Mindful Presence to the World Read also at Unspoken Cinema: Convenience vs Contemplation (Cinematic tropes)
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The Film That Fixes Your Attention Span (Cinema To The Max)

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  The Film That Fixes Your Attention Span (YouTube) 19'56" (Cinema To The Max) 20 March 2026 "Topology of Sirens is a film that uses ambient music to recontextualize our narrative-centric filmmaking perceptions. By utilizing techniques commonly found in slow cinema, director Jonathan Davies' crafts an experience that rewards different mode of attention. This is the second installment of "The Ambient Cinema Canon", an ongoing series on my channel where we discuss the genre's connections to experimental/avant-garde film theory."
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Reframing Slow Cinema: On the Spectatorial Pleasures of Passivity (Jakob Boer)

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Latest addition to the Library page at Unspoken Cinema:  "To conclude, I have highlighted that cinematic slowness does not exclusively entail the kind of challenging, laborious mode of deep attention that critics and popular imagination have predominantly associated with slow cinema. By contrast, participants have foregrounded a pleasurable, effortless form of attention akin to a trance-like flow. Letting go enables a degree of freedom to look, think, and feel. However, viewers do also actively pay attention and attune to the film in a mode of deep viewing. So, cinematic slowness provokes a variety or spectrum of responses. [..] Consequently, this enhanced understanding of forms of attentional engagement complicates and nuances an overly simplified understanding of spectatorship in terms of the binary opposition between attention and distraction, between activity and passivity, and fast and slow. A substantial part of the body of film theory from the second half of the previous c...
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Entretien Olivier Zuchuat (Microciné)

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  Regarder tenir feat. Olivier Zuchuat (YouTube) 40'19" (Microciné Revue de Cinéma et de Télévision) 25 mars 2026 "À l’occasion de la parution de Attraits de la durée, Olivier Zuchuat revient sur un travail qui, sous des allures théoriques, reste profondément lié à une pratique du cinéma. Il ne cherche pas à redéfinir frontalement ce qu’est un film, mais à déplacer légèrement le point d’attention, à partir d’un élément simple — le plan — pour en éprouver les conséquences. L’idée, au fond, tient en peu de mots : le montage ne serait pas seulement ce qui relie les plans entre eux, mais ce qui s’opère déjà à l’intérieur du plan lui-même, dans sa durée, dans ses déplacements, dans la manière dont il organise l’espace et le temps. À partir de là, tout se reconfigure. Ce que l’on croyait stable — découpage, rythme, progression — devient plus incertain, plus diffus, comme si le film se mettait à respirer autrement. Certains exemples rendent cela immédiatement sensible. Dans les...
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Spectatorship, Duration, and Nostalgia (Josh Martin)

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Latest addition to the Library page at Unspoken Cinema: "In popular and scholarly discourse on twenty-first century international film, slow cinema has emerged as an area of vibrant discussion. Among cinephiles and film critics, slow cinema grew in prominence as a topic in the early 2000s, and it has since become a source of rigorous debate in academic circles as well. With slow cinema now a central discussion in film culture, numerous authors have attempted to specifically define the parameters of this mode. Tiago de Luca describes slow cinema as a group of films “characterized by measured pace, minimalist mise-en-scène, opaque and laconic narratives, and an adherence to the long take as a self-reflexive stylistic device”. De Luca’s conceptualization of slow cinema is one of many, but it sufficiently captures the scope of the stylistic features typically attributed to slow cinema. To provide my own brief definition as a guide for this project, I will understand and interpret slo...
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Ma, Basho, Aida: Three Japanese Concepts of Space at the Age of Globalization (Thorsten Botz-Bornstein)

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Latest addition the Library page at Unspoken Cinema:  "As the title of this chapter suggests, three Japanese concepts will be examined against the background of a relatively recent phenomenon that has come to dominate contemporary culture: “globalization.” The term often denotes the growing uniformization of culture through the worldwide standardization of economic, political, and aesthetic conditions. This standardization also extends to the production of space. Yet any discussion of space in relation to globalization must take into account an additional dimension. A “globalized world” is created not only through the homogenization of building materials, aesthetic forms, functional modes, and the like, but also through the increasingly prevalent “virtualization” of human environments enabled by computer technologies. This virtualization does not initially refer to the creation of computer-generated “virtual reality.”" Thorsten Botz-Bornstein ; Ma, Basho, Aida: Three Japanes...
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A Cinema of Contemplation, A Cinema of Discernment: Spectatorship, lntertextuality and Attractions in the 1890s (Charles Musser)

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Latest addition to the Library page at Unspoken Cinema: "To examine the many connections between early film and painting enables us to explore the ways that cinema often times embraced the principles of detached contemplation. These affinities were foregrounded in the museum exhibition Moving Pictures: American Art and Early Film, 1880-1910, in which curator Nancy Mathews identified a wide variety of visual rhymes involving specific films and specific art works, suggesting that some early films were conceived as paintings that move (thus the title of her exhibition -"Moving Pictures")." Charles Musser; A Cinema of Contemplation, A Cinema of Discernment: Spectatorship, lntertextuality and Attractions in the 1890s (2006)
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Contemplating Goodbye, Dragon Inn (Aziz Barkın Kadıoğlu) TURKISH

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Latest addition to the Library page at Unspoken Cinema: "The concept of "slowness" which has gained significance in response to the rapid pace of industrialized and urbanized modern society, can be seen as a reaction to the challenges posed by consumer culture. When examined in conjunction with movements that embrace slowness as a way of life, such as "Slow Food," "Slow City," and "Slow Media," it becomes evident that this concept has developed a rich cultural and social ideological framework. The notion of slowness, which has garnered increasing attention in literature since the late 1980s, particularly through the works of Petrini and Berthelsen, has also found its way into the realm of cinema. This cinematic trend, often referred to as "slow cinema," is characterized by deliberate cinematographic choices. It can be traced back to the cinematic narratives of the 1960s and continues to influence contemporary filmmaking. Since the...
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If these holes could talk... (ilestsixheures)

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  if these holes could talk, they'd sing... - the hole by tsai ming-liang (YouTube) 1' (ilestsixheures) 1er avril 2020 
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