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Cachez cette image que je pourrais entendre (Rosine Benard O'Kelly)

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"Le slow cinema est un terme de plus en plus utilisé pour définir un courant, ou une « famille » de films (Botz-Bornstein, 2015 : 2), qui, selon Ira Jaffe, « réduisent le plus possible à la fois le mouvement, l’action, les dialogues et les artifices » (Jaffe, 2014 : 9). Dans son ouvrage consacré à ce courant, Jaffe tente de définir le dénominateur commun que peuvent avoir les slow movies en analysant à la fois leur style visuel, leur structure narrative, leurs thématiques, ou leur montage. S’il est difficile de définir de manière définitive, objective et précise, ces films, on pourrait néanmoins avancer que ceux-ci semblent généralement relever du type d’image défini par Deleuze comme étant celui de l’image-temps, celui du cinéma de la modernité, où « ce qui a remplacé l'action ou la situation sensori-motrice, c'est la promenade, la balade et l'aller-retour continuel » (Deleuze, 1983 : 280). Ce courant trouverait alors ses origines, comme l’avance Jaffe, dès les années...
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Are "Slow Films" really slow? (Wanggo Gallaga)

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"What some people call slow cinema now really isn’t slow. Some films are neither minimalist in style or narrative elements nor are they observational; it’s just that they are building the world before they get to the plot. [..] So when a film doesn’t immediately tell us what the goal is, what the protagonist is meant to achieve, we feel lost in terms of time. And that’s when a film starts to feel slow for some audience members. [..] We should be reading books and watching theater and movies to enrich us and show us things we never thought about before—or even experience emotions we would never normally feel in our regular day-to-day lives. We should be able to immerse ourselves in a different perspective so that we can grow as people. That’s the power and beauty of art. And it should be slow so that we can savor it and really think about it."  Wanggo Gallaga ; Is ‘slow cinema’ the biggest enemy of cinema today? ; 20 Aug 2026
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Entretien avec Nicolas Sallé (réalisateur du Brame du Cerf) Slow TV

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 Il y a dans la Slow TV quelque chose qui ressemble à une provocation tranquille. Pas de rebondissements, pas de climax, pas même de fil narratif à proprement parler. Juste le temps qui passe, un paysage qui respire, des animaux qui vivent leur vie indifférents à la caméra. Et pourtant, des millions de spectateurs s'y arrêtent.  La Slow TV a été popularisée en Scandinavie, en 2009, sous l'impulsion de la chaîne publique norvégienne NRK. Des programmes anti-dramatiques par principe — un trajet de train filmé en temps réel, une croisière côtière sur plusieurs jours, un feu de cheminée de huit heures — qui ont pourtant réuni des millions de téléspectateurs, au point de faire entrer un nouveau mot dans le vocabulaire des médias. Le genre repose sur un pari radical : ne rien faire advenir, laisser venir, et faire confiance au spectateur pour s'y installer. En France, c'est Eden Production, avec le soutien de France Télévisions, qui ouvre le chemin. Nicolas Sallé en est l...
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How Perfect Days Made Loneliness Important Again (Prime Cinephile)

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  How Perfect Days Made Loneliness Important Again (YouTube) 5'16" (Prime Cinephile) 25 Nov 2025 "Perfect Days is a film that feels simple on the surface, but emotionally deep once you sit with it.  In this video, we take a closer look at how Wim Wenders uses slow cinema to tell a quiet and meaningful story about routine, purpose and being present in life. We’ll explore Hirayama’s character, his daily rituals and how the film reveals who he is without heavy dialogue or dramatic events. We’ll also look at the cinematography, pacing, sound design and the emotional meaning behind the ending. "
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The Collapse of Time in Cinema (deep kino)

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From Tarkovsky to TikTok: The Collapse of Time in Cinema (YouTube) 52'25" (deep kino) 23 March 2026 "This podcast episode explores the philosophical tension between slow cinema and the modern attention economy. The hosts contrast the "sculpted time" of directors like Tarkovsky and Ozu, who used long durations to foster deep human reflection, with the rapid-fire editing of Marvel films and TikTok. They argue that constant digital stimulation has recalibrated our nervous systems, making the patience required for contemplative art feel like a physical struggle. However, the dialogue emphasizes that intentionality matters more than speed, defending both the "gift" of time in arthouse classics and the "energy" of well-crafted fast media. Ultimately, the podcast presents attentive viewing as a modern discipline that must be actively practiced to keep cinematic traditions alive."
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Kiarostami by Fergus Daly (x2)

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  Abbas Kiarostami: the Art of Living (2003) (YouTube) 58'41' (Fergus Daly) 8 nov 2023 Essay by Fergus Daly on Kiarostami here  : "The Mirror of Possible Worlds" (1998, Film West 32 ) Companion piece : The Mirror of Possible Worlds: Kiarostami on Aran (YouTube) 24'05" (Fergus Daly) 31 march 2026 "20 years on, an experimental reimagining of Abbas Kiarostami’s experience of the Aran Islands when he travelled there in July 2001 following in the footsteps of Robert Flaherty and his 1934 film Man of Aran. Part film essay, part fictional reverie, The Mirror of Possible Worlds explores the effect of Place on creative thinking and the situation of the exiled artist in his encounter with a dispossessed land. As Nicole Brenez has written of the film: "The supremely minimalist and elegant « Mirror of Possible Worlds » achieves one of the deepest meditations about the image in contemporary cinema, rising winds of ideas blowing directly from the barren plains ...
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HOTEL MONTEREY (Babette Mangolte)

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Babette Mangolte on HOTEL MONTEREY preceded by LA CHAMBRE | TIFF 2019 (YouTube) 58' (TIFF) 11 nov 2019 "Cinematographer Babette Mangolte, a longtime friend and collaborator of Chantal Akerman’s, joins us to present two of their earliest films together, consider the influence of the New York structural-film movement on Akerman’s work, and reflect on the filmmaker’s legacy Guest: Babette Mangolte Babette Mangolte is an experimental filmmaker and photographer based in New York. Her most recent solo shows include I = Eye at Kunsthalle Wien and Spaces to SEE at Rochechouart Musée d'Art Contemporain. She is currently completing a feature film and her next project is a book about photography. La Chambre (Chantal Akerman) BELGIUM, USA | 1972 | Silent 11 minutes A horizontal pendant to Hôtel Monterey's stacked verticality, La Chambre describes a continuous, 360-degree pan around Akerman's Spring Street apartment, depicting the filmmaker reclining on a bed like an odalisqu...
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Pyramide des âges contemplative

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  - Illustration de Benoit Rouilly -
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"Faire un film, c'est un véritable tourment", entretien avec Wang Bing (Collège de France)

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"Faire un film, c'est un véritable tourment", entretien avec Wang Bing par Anne Cheng (YouTube) 1h38'23" (Fondation Hugot du Collège de France) 27 avril 2023 "Dans cet entretien filmé le 5 mai 2022 à la Fondation Hugot du Collège de France à l’initiative de sa directrice, Florence Terrasse Riou, Wang Bing parle librement et intensément de sa conception de l’art, de son rapport au cinéma et à la littérature chinoise, ainsi que de son enfance, notamment à propos de son film « L’homme sans nom ». Il est entouré de sa productrice et proche collaboratrice Kong Lihong, de sa traductrice et interprète Pascale Wei-Guinot, d'Anne Kerlan, directrice de recherche au CNRS et historienne du cinéma chinois, et d’Anne Cheng, titulaire de la Chaire d’histoire intellectuelle de la Chine au Collège de France."
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"Chantal Akerman: The Private and The Public" (FILMADRID)

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"Chantal Akerman: The Private and The Public" | FILMADRID & MUBI: The Video Essay (YouTube) 9'17" (MUBI) 28 June 2024 "Chantal Akerman: The Private and The Public. “News From Home'' and “No Home Movie” by Chiara Cuccinielllo, Tiziana Rovere, Stella Capolicchio & Elena Lacunza Exploring Chantal Akerman's visionary films, from the busy streets of News from Home (1977) to the intimate spaces of No Home Movie (2015), we discover the synergy between the public and the private spheres. Akerman emphasizes a dual reality, between home and city, the truth and the image, mother and daughter."
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Cinéma Cinéaste, Chantal Akerman (Interview 2012)

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  Cinéma Cinéaste, Chantal Akerman (Interview 2012) (YouTube) 17'07" (cinergie.be) 4 avril 2024 "En 2012, lors de la sortie de 'La Folie Almayer', Chantal Akerman nous avait offert un long entretien. Et cela à l’endroit même où Saute ma ville, son premier film, a été tourné en 1968."
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The formation of the concept of "slow cinema" (Teterkina)

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Latest article addition to the Library page at Unspoken Cinema: Abstract: "The subject of the research is the critical reflection of the 2000s regarding the concept of "slow cinema." The aim of the work is to reconstruct the initial premises that subsequently laid the foundation for academic interpretative models of "slow cinema." In the absence of comprehensive knowledge about this cinematic phenomenon, it seems necessary to reconstruct the genealogy of its formation at an early stage. The analysis of disparate texts within the discursive field allows for tracing the origins of the concept of "slow cinema," the process of its transformation, and its subsequent institutionalization. Special attention is paid to identifying the object-forming positions within the logic of early critical texts dedicated to the phenomenon of "slow cinema." This approach allows for the dis-embedding of propositions at the prenominative level, where initial repr...
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Una aproximación al cine contemplativo (Jorge Ruesta) ESPAÑOL

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Una aproximación al cine contemplativo (YouTube) 4'10" (Casa de Literatura Peruana) 2021 "Exposición virtual de Jorge Santiago Ruesta Chunga sobre cine peruano contemporáneo del cineasta Armando Robles Godoy, así como del cine digital y regional peruano."
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The aesthetic of slow cinema (Silvana Porreca)

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"Slow cinema is not merely a stylistic choice — it is a philosophical stance toward time, perception, and the invisible rhythms of human experience. To understand its aesthetic depth, one must explore the broader cultural currents that shaped it: from the alienation of modern relationships to the poetry of consciousness itself." Silvana Porreca; Slow and contemplative cinema: the aesthetic of slow cinema ; in IndieCinema
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Béla Tarr : Le retrait du monde filmique (Christophe Bisson)

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"Le grand cinéaste hongrois est mort au début de cette année. Hommage un artiste à un autre, par l'intermédiaire d'un troisième. Peinture, cinéma, écriture. Et toujours le temps." Christophe Bisson ; Béla Tarr : Le retrait du monde filmique (sur Burdstack ; article pour abonnés payants) 2 août 2026
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