Unspoken Cinema

  Béla Tarr on Meeting Jean-Luc Godard (YouTube) 2'47" (Antoine Petrov) 24 June 2023

  Filmmakers mentionned in the corpus of 14 books on Slow Cinema, Contemplative Cinema or Cinéma soustractif between 2004 and 2023. In purple, Contemplative Cinema (or Slow Cinema) auteurs. In red, Slow Cinema auteurs only. Detail of the citations list per corpus. Allcaps for major CCC auteurs, Green for recurrent CCC figureheads (see CCC 1967-2020 by auteur ) Great disparity within the global corpus. Always the same usual suspects (Tarr, Tsai, Alonso, Costa cited by 2/3rd of the books) and other familiar faces (Akerman, Kiarostami, Ceylan, Reygadas, Weerasethakul cited by half of the books), amongst which I consider Ceylan too talkative (the words, the poetry, the discussions are too important to his cinema to be completely Contemplative). Then come Diaz, JZK, Reichardt, Wang Bing, Bresson, Cavalier, Frammartino, Jarmusch, Ozu, Sokurov, Tarkovsky, Gus van Sant... cited by 1/3rd of the books. Bresson, Ozu and Tarkovsky belong to an older generation (Modernists). Only Diaz, Wang Bing, F

A new post on the blog of Cinema Waves, a digest about Contemplative Cinema (read full article on the link below): The development of slow, or contemplative cinema is deeply rooted in the history of film and various cultural, social, and cinematic movements. Understanding slow cinema involves examining its evolution from early influences to its contemporary manifestations and the broader changes in the film industry that have shaped its trajectory. [..] Slow Cinema - What Is It? (Milan Dujic, 22 July 2024)

  Killing Boredom or Being Bored to Death (YouTube) 31'20" (Wiebke Schnapper) 18 Jan 2024 In my work, I explore the concept of boredom through the lens of slow cinema, a genre that challenges mainstream, fast-paced filmmaking. By embracing long, uneventful scenes and minimalist storytelling, slow cinema invites viewers to engage with boredom, fostering contemplation and patience. My essay film, „Killing Boredom or Be Bored to Death,“ reenacts scenes from various slow films, integrating theoretical discussions about slow cinema and boredom. This project serves as both a meditation on the value of boredom and a critique of our constant need for stimulation. Through this work, I demonstrate that boredom, when embraced, can lead to deeper creativity and introspection. It challenges viewers to find beauty and meaning in the mundane, transforming what is often seen as a negative state into a profound cinematic experience. Accompagnying bachelor thesis : Killing Boredom, or Being Bo

Slow Cinema, Contemplative Cinema Organic cinema is related to "slow cinema" and "contemplative cinema." However, while the latter two remain, in my opinion, relatively vague terms, organic cinema is supposed to be more precise as a theorethical notion. Unlike slow and contemplative, "organic" is not merely atmospheric. One reason the terms "slow cinema" and "contemplative cinema" have remained relatively vague until recently is because they tend to be used as "foggy, dark, monotonous, and nostalgic" in order to cover the styles of many film directors. I extract the definition of organic cinema from an analysis of three Béla Tarr films, more precisely, his trilogy of Damnation (1988), Satantango (1994), and Werckmeister Harmonies (2000). However, Tarr is not the only organic film director. Andrei Trakovsky, Aki Kaurismäki, Theos Angelopoulos, and Reha Erdem, to name but a few, are similarily organic because they attempt to cap

“It was simple. I had a feeling. We had made everything we wanted. The work is done and you can take it or leave it. It is not my business any more. I wanted to be a producer, working with the new Hungarian cinema. We had a production office and you wouldn’t believe my desk. A minimum of 10 different projects on it! I loved to work with those people. But then we got this government, this shit, this rightwing shit. They said very clearly we have to apply for the new conditions and we have to fulfil expectations, and by the end I said: ‘Fuck! Better if I hand over all ideas and projects and scripts and I leave the country because I have a feeling it’s hopeless.” ‘My slogan is very simple: no education, just liberation!’ – Béla Tarr on how film can fight the political right in Hungary (interview by Peter Bradshaw in The Guardian, 19 July 2024) Family Nest The Outsider Almanac of Fall Damnation Satantango The Man From London The Turin Horse A Béla TARR Retrospective: Will Heaven Fall Upon

AI DEBATE ON CONTEMPLATIVE CINEMA With CLAUDE 3.5 Sonnet ( Anthropic ) We’ve come a long way since GPT, with CLAUDE the conversation is much more interesting, so I’ve decided to try something else, and have Claude debate with itself about Contemplative Cinema after prompting this AI to give me some questions for this debate… Here is what happened: CLAUDE INTRODUCTION: The following debate explores various facets of Contemplative Cinema, a distinctive approach to filmmaking characterized by its slow pacing, minimal narrative, and emphasis on visual composition. Through a series of point-counterpoint arguments, this discussion delves into the nature, significance, and impact of Contemplative Cinema in the broader context of film art and cultural discourse. The debate touches on several key issues, including the appropriateness of the term "Contemplative Cinema" versus "Slow Cinema," the potential societal value of this aesthetic approach, its relationship to other art

  Béla Tarr - Empire of Rain (YouTube) 13'05" (Cinematic Paintings) 3 june 2024