Showing posts from November, 2008

Announcement: Unspoken Cinema Journal. Call for submissions.

Unspoken Cinema Journal Bela Tarr issue – Call for submissions To coincide with recent remarks made by Béla Tarr, that his next film may be his last, Unspoken Cinema Journal is delighted to dedicate its inaugural issue to the uncompromising Hungarian master. + Unspoken Cinema Journal is a quarterly periodical devoted to scholarship, discussion and the promotion of contemplative cinema. Despite its elusive definition, we recognize contemplative cinema as one that departs from the safety of neorealism and transcendental style; to fearlessly explore the undrawn aesthetic boundaries of minimalism, mutism, existentialist and materialist film. We also recognize contemplative cinema as a truly transcultural cinematic avant-garde. Our intention is to deliver as rich and engaging exploratory film criticism in this field as possible. Unspoken Cinema Journal encourages written and image (still) based submissions from a wide range of styles. We welcome established contributors as much as lesse

Tarr Béla quits cinema?

Supportive Petition for Tarr Béla In the September issue of Cahiers ( #637 ), one of the best filmmaker working today, Béla Tarr, casually declares at the end of an interview being fed up. He wants to end his career after his next film ( in production now in November 2008 ) which will be his last. Tarr Béla, the Hungarian auteur who gave us : The Man From London (2007), Werckmeister harmóniák (2000), Sátántangó (1994), Damnation (1988), Almanac of Fall (1985), The Prefab People (1982), Family Nest (1979)... Excerpt from the end of the interview (my unauthorized translation), by Cyril Neyrat and Emmanuel Burdeau made in Paris, on June 26, 2008 : [about The Man From London ] Cahiers : you suppressed almost all dialogue from Simenon's novel. The lines remaining are very strong, and performed with power. Where from does this excess of emotional expression? Tarr : I maybe come back to my roots, Family Nest, my first movies in which I was very expressive. I admit I feel deeply