Unspoken Cinema

In Praise of Slowness - Carl Honore - 2005 (19'11") When you feel the need to speed up, slow down - 2014 (20') Pourquoi tout est plus beau quand tout est plus lent ? Collectif Catastrophe - 2017 (5'28") Related : I always liked it slow (Leonard Cohen) Le droit à la paresse (Jorda) La lenteur (Bratu)

Hong Sang-soo shares his top10 favourite films and you'll be surprised, it's full of contemplative cinema  TheFilmStage (13 Nov 2017)   L'Atalante (1934/Jean VIGO) Barque sortant du port / Boat leaving the port (1897/Louis LUMIERE) Boudu sauvé des eaux / Boudu Saved From Drawing (1942/Jean RENOIR) Early Summer (1951/OZU Yasujiro) Le rayon vert / The Green Ray (1986/Eric Rohmer) Un condamné à mort s'est échappé / A Man Escaped (1956/Robert Bresson) Nanook of the North (1922/FLAHERTY) Nazarin (1959/Luis BUÑUEL) Ordet (1955/DREYER) Young Mister Lincoln (1939/FORD)

Films made by 22 recurrent Contemporary Contemplative Cinema figureheads since 1967 [ Google sheet ] It's time to update the CCC timeline 2008 , I hastly put together 12 years ago, at the origin of this blog. I had omitted back then Peter Hutton, Franco Piavoli, Tacita Dean, Elia Suleiman, Nikolaus Geyrhalter, Sergei Loznitsa & Kazuhiro Soda, who I didn't know, as well as most of James Benning's output. But a few also don't make the cut this time around (Omirbaev, Kore-eda, Costa, Ceylan, JZK, GVS, Martin, Escalante, Serra) for various reasons (too few CCC films, too "speechy"/narrative in comparison to the other main figureheads, but it doesn't mean they are not contemplative, just they are not part of the chosen few CCC role models)... in order to paint a clear picture, more radical, of this new narrative cohort. One thing did change : the year of debut of this narrative mode, now 1967 instead of 1970. In restrospect, we can see clearly now the years

Last month Apichatpong WEERASETHAKUL sent an open letter to the Netherlands's zine Filmkrant (May 2nd 2020) in response to another lockdown letter written by his Chinese peer JIA Zhangke. (This mail connection between CCC masters reminds me of Correspondancia(s)  a series of video letters between pairs of CCC masters) To Apichatpong, (mainstream) cinema is like a journey, and each plot point is a mini-destination along the way, the dramatic denouement is the destination of the journey. Such is the "art" of classical cinema, to make spectators forget about time and to propel them to their destination. He aptly compares cinema to a road trip, and the mainstream audience to impatient children at the back of the car. They scream for a destination in sight and get bored of the repeated scenery by the windows. As the audience grows older, they learn to be patient (learn to be patient??? I want to be patient now!), and embraces the scenery by the window, without worrying so muc