Unspoken Cinema

Carlos Reygadas : "When a film is made, you try to share what you feel, what you think, what you imagine... I don't think there are any limits, but one's own limits. I do have limits, but I do feel totally free. So I think I do make perfectly normal, easy films. that is not a sea-change in comparison with standard films. [..] About narrative, I try to make very realistic films. We as human being, we have images from the past, dreams, memories, fantasies, projected future which mostly doesn't come as we imagined it... We don't change from one to another with a code in ordinary life. So I didn't want to use a code in the film. I think the public is very wise and moving very fast in cinema. There is no need for such codes anymore.  So I didn't want anything that would make you (public) connect directly what is the future, what is the past, what is imagined, what is fantasy.   As it happens in our own lives, as in our own heads. That's why I respect th

Bela Tarr to shutter production company. Helmer laments 'crisis' in art cinema  (John Nadler;  Variety ; 24 May 2012) BUDAPEST -- Hungarian auteur Bela Tarr has decided to shutter his production house T.T. Filmmuhely at the end of this month. According to Tarr, the demise of the shingle, which produced pics like Tarr's " The Man from London " and " The Turin Horse ," reflects the crisis besetting art cinema in Hungary and Central and Eastern Europe. "We have no choice but to acknowledge that despite our efforts our situation has become untenable," Tarr and partner Gabor Teni said in a joint statement. Tarr has been a critic of reforms to Hungary's film-funding system, which he says discourages art film production in favor of mainstream entertainment pics. In February, Tarr helped organize a film festival to protest against Hungary's new film funding system. But proponents of the new system, devised by Hungarian-born Hollywood pr

Cristian Mungiu on his view of cinema (about his film  DUPÃ DEALURI / BEYOND THE HILLS )  : "My choice to not use music and not abuse editing was made before 4 Months, 3 Weeks, 2 Days . Simply because the kind of cinema I'm trying to make tries as much as possible to make the filmmaker's presence invisible. And the two choices that are the most visible for a film are music (which is very external for me) and editing (which shows you what's more important than something else). This is why we all made this effort to make all the film in plan-séquence. It is very complicated to find that specific point in space, geometrically speaking, from where you can shoot a scene (which is tri-dimensional) and still don't lose much. And respect this great idea of theatre, that if you want the things happen in front of you and you [the spectator] will decide what's more important. It's finally a matter of respect for my spectators. I don't think they have to be

"[..] Those bravura passages of meditation that mark the high point of a certain kind of art cinema: are they not exactly the thing that no longer exist in film today? In the epoch of MTV and of the 'quick thrilss' associated with the 'event movie', we no longer, it could be claimed, have the patience to look - that is, to linger, to explore, to risk boredom in the search of epiphany - that not so long ago was part and parcel of teh serious cinema-going experience. [..] Virtuosity itself, though an aspect of art, needs to be treated with caution: one can be impressed with the sort of sequences I am referring to without maintaining that they sum up the totality of film art. For there is, and there has always been, another kind of long take which is based on the contrary on simplicity. Here it is not the skill or the technical dexterity of the artist that is at issue, but the integrity and patient intensity of his gaze. And of course that goes back once again into

VCinema says : The VCinema Show (aka “ The VCinema Podcast ”) is our flagship podcast, and much like the VCinema blog, coverage is dedicated to Asian film from all countries, genres, and eras. Selected CCC-friendly podcast titles : Episode 42 –  Goodbye, Dragon Inn  (Taiwan; 2003) and lament about distracted attendance and small screens ( Episode Listing )  2h10' [ MP3 ]  Episode 30 – Taiwanese New Wave Cinema Special. Cafe Lumiere (Taiwan, 2003) review with guest host Marc Saint-Cyr of the Toronto JFilm Pow-wow ( Episode Listing ) 2h16' [ MP3 ]  Episode 29 – The Scent of Green Papaya (Thailand, 1993) review ( Episode Listing ) 1h55' [ MP3 ]  Episode 26 – Taiwanese New Wave Cinema Special. Yi Yi (Taiwan, 2000) review with guest host Marc Saint-Cyr from The Toronto JFilm Pow-Wow ( Download | Episode Listing ) Episode 9 – Oasis (2002) ( Download | Episode Listing )

«Le droit à la paresse», à relire d’urgence Dans la nuit du 25 au 26 novembre 1911, Paul et Laura Lafargue mettaient fin à leurs jours, considérant qu’il était temps d’en finir avant d’être une charge pour les autres. Le premier s’était rendu célèbre pour son Droit à la paresse , la seconde était la fille et la traductrice de Karl Marx. A leur manière, ils n’ont pas voulu voler le bien le plus précieux de tout être capable de sentir et de penser, le temps. Le combat de Paul Lafargue pour la réduction du temps de travail vient de ce jugement qu’il fera dernier : chacun a le droit d’employer librement le temps plutôt que d’en être l’esclave. En faisant croire aux ouvriers, à l’aide de l’Eglise, que la vie est travail, les capitalistes passent leur temps à voler celui des travailleurs. Ces derniers ne devraient pas réclamer le droit au travail - c’est une erreur masochiste selon Paul Lafargue -, mais le droit à la paresse. Car c’est la possibilité d’employer son temps à ne pas travai