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Nordic Slow Cinema (interactive presentation)

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Nordic Slow Cinema : Life in the Slow Lane  (Click on the image or this link and wait for loading which is appropriately slow) interactive animation by Bella Wodzka (16 November 2017) The Slow Mouvement So What is it? Slow Cinema The Nordic Context Questions?

CCC 2010-2019 Decade Top10

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This blog about Contemporary Contemplative Cinema is 14 years old in 2020, and cinema still gives us more contemplative films every year. (See Recommended CCC ). If anything this narrative mode is getting bigger and wider. LEt's see what the CCC masters will show us for the new decade to come... So here is my Top10 of the past decade 2010-2019 : The Turin Horse  (2011/Béla TARR & Agnès HRANITZKY) Uncle Boonmee...  (2010/WEERASETHAKUL) Three Sisters  (2012/WANG Bing) A Pigeon Sat On A Branch...  (2014/ANDERSSON)  No Home Movie  (2015/AKERMAN) Leviathan  (2012/PARAVEL/CASTAING-TAYLOR) An Elephant Sitting Still  (2018/HU Bo) Le Quattro Volte  (2010/FRAMMARTINO) Inland Sea  (2018/SODA) Under The Skin  (2013/GLAZER) If you're still reading this blog, if you're still watching CCC, what are your personal Top of the decade, please leave a comment. Related : My CCC Top10 Canon (2012) CCC...

Interview with Observational filmmakers Kazuhiro SODA & Kiyoko KASHIWAGI

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On the occasion of the release of Inland Sea on digital platforms (25 November 2019), Rock Salt Releasing contacted me to review it and offered me to interview the filmmaker Mr. Kazuhiro SODA and his producer and wife Kiyoko KASHIWAGI. Both are working jointly since  Mental  (2008; Observational Film #2).You may find his other films on his website  (at Laboratory X).   Kazuhiro SODA used to be a director-editor of 20 min TV documentaries for the NHK, between 1997 and 2004 : a series of over thirty portraits of NewYorkers. But the intensive TV practice and timing was everything he didn't want to do. Thus he conjured up his " Ten Commandments of Observational Filmmaking " and went on to produce his own feature length films independently (self-financed, directed, edited and never scripted). Trained as a fiction director, his vocation for documentaries was initiated by the films of Frederick Wiseman.  I could draw parallels between some of his films and Fre...

Inland Sea (2018/Kazuhiro SODA/Japan-USA)

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Opening sequence : A brief black screen with the sound of water nearby, so that the film starts by titillating our ears first with a calming, soothing tonality. The soundscape lingers as the screen opens, in black & white, on an embankment with the setting sun straight ahead. Two old people, backlit beautifully, are busy working ; one crouching over a bucket full of water and the other bending over an entangled fishing net. – Konnichi wa, says the cameraman off-screen as the old lady turns to the camera, and replies likewise. The film begins with a welcoming greeting (as we are casually introduced to who will become the two main characters of the film). In the foreground, the old lady calls for Wai-chan in the distance. But she soon adds he doesn’t hear well. Cut to the reverse shot, looking back at the lady, and slowly panning toward the legs of the old man who has sit in the shade of a shack. Tilt up, revealing his head, hidden under a cap. Close up of his face, e...

Oyster Factory (2015/Kazuhiro SODA/Japan-USA)

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Opening Sequence   Up close, a white cat basking in the sun on the pier, then it walks off screen. Painterly framing of the Ushimado bay, with micro islands in the distance, and a tree branch striking the foreground of the frame top like a Japanese etching. Another view of the bay from higher ground, with the sea cluttered by oyster farms and a boat crossing at mid-screen. Now the camera is handheld onboard of a fisherman boat, looking in at an oyster rack approaching. It’s made of bamboos. Cut to a crane flying off of one of those racks. Face of the fisherman through the windshield of his driver cabin. The fisherman is walking on the bamboo rack without leash or safety gear, wearing a yellow vinyl overall finished with boots. Whip zoom on him crouching to untie one rope. Several shots of him retrieving the ropes. Back on the boat, the hydrolic crane is pulling out of the water a bunch of ropes tied together, revealing clustered oysters hugging the ropes as the ensembl...

Comparative Duration in Lav DIAZ's oeuvre

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See also at Unspoken Cinema: Lav DIAZ Runtimes (2026 updates) Comparative Duration in WISEMAN's oeuvre  (2023) Comparative Duration in WANG Bing's oeuvre  (2019) Lav Diaz Run Time  (2009) Lav DIAZ on Long Takes  (2008) Average Shot Length in CCC

Comparative Duration in WANG Bing's oeuvre

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See also at Unspoken Cinema: Lav DIAZ Runtimes (2026 updates) Comparative Duration in WISEMAN's oeuvre  (2023) Comparative Duration in Lav DIAZ's oeuvre  (2019) Lav Diaz Run Time  (2009) Average Shot Length in CCC

How to see early silent films (68mm Biograph)

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The IMAX of the 1890s | How to see the first movies (2019/Dave Kehr/MoMA) 11' Related : Louis Lumière (Rohmer/Renoir/Langlois) Les films Louis et Auguste Lumière 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12  (YouTube)

Flânerie 2.0 (Chloé Galibert-Laîné)

Flânerie 2.0 [ENG SUBS] from Chloé Galibert-Laîné on Vimeo . (11'13") 11 march 2018 Walter Benjamin (1938) La contemplation et la perception distraite Related : Propos sur la flânerie Flânerie urbaines sans parole  (EIKAWA Yuki)  Flânerie and (Post)Modernity: Links in memory of Anne Friedberg at Film Studies For Free “The Dialectics of Seeing: Walter Benjamin and the Arcades Project” (Susan Buck-Morss, 1989) “Passagenwerk” / Arcades Project (Walter Benjamin)

On A Dirt Road (contemplative video)

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The Unbearable Lightness of Being by Janos Kis (YouTube) 13'18" (2018/Janos Kis/Cambodia) There is a cow lounging on the side of a dirt road. Is it a sacred cow? This is not a postcard... the cow is ruminating patiently.  She whips her tail to chase away the flies, and shakes her large black ears. She is alone, abandonned on the side, at a distance in the frame. Not too estranged, not too familiar. The landscape is planted there for eternity. The road, although losely defined, with patches of grass here and there, is mostly sand, stretching perfectly in the axis of the shot. A symetrical composition only distracted by the excentric position of the cow and a huge tree on the opposite side of the road, as a counterbalance. And behind the cow, a power line with dancing posts that can't seem to keep a straight posture. The road has no end in sight it seems, as it unrolls up to the horizon, rigth into a perpendicular line of trees, which probably follows a perpendicular...