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Continue reading →: BouchraA confession to be made: I often feel a disconnect with animation. If one can argue that all cinema consists of are sounds accompanying the movements of lines and shapes on a flat screen, then the realization that photography is nothing but this abstract idea is somehow more enticing to…
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Continue reading →: Mambar PierretteHow may one regard the role of narrative? This question is a very important one to raise in the context of Rosine Mbakam’s Mambar Pierrette, an ostensibly cinema verité depiction of a Cameroon mother trying to take care of her mother and prepare her kids for the start of a…
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Continue reading →: Favourite First Time Watches of JuneWalkover There’s something deeply mysterious surrounding Skilmowski’s formal approach. The film consists of a series of seamless long takes with some indelible reframings. There is an internal speed to the overall project. The camera tracks the main character and glides past his surroundings. But these surroundings and people are not…
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Continue reading →: 100.000.000.000.000 (Cent mille milliards)The eye-catching title of Virgil Vernier’s Cent mille Millards is a number that the main character, Afine (Zakaria Bouti), a sex worker living in Monaco, counts to when he lies in bed at night. I find it pertinent that during his counting, the frame is fixated on a shot of…
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Continue reading →: Debut, Or, Objects of the Field of Debris Currently DocumentedJulian Castronovo’s Debut, Or, Objects of the Field of Debris Currently Documented, lives inside one of those deep Internet rabbit holes, where the abundance of information reaches a level of infinitude that, when one stares into the abyss, their image becomes absorbed, and their reflection can no longer be seen.…
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Continue reading →: Two Seasons, Two Strangers – Seasonal DetoursImage Credit: Ritual Films The two subjects in the title of Sho Miyake’s latest, Two Seasons, Two Strangers, reveal the foremost pleasures of watching the film. The enveloping of seasonality can be found clearly through the evidence onscreen: the summery rainstorm, the rustling leaves in a passageway that leads up…
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Continue reading →: Favourite First Time Watches of June3 by Cordeiro and Reis The definitive highlight of cinema for me this month is no other than the Cordeiro & Reis retrospective that took place at TIFF Lightbox. Described as the peasants of cinema, they make films that feel like open secrets. Open, because everything onscreen – the movement…
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Continue reading →: A PrinceNature manifests in two distinct orders that constantly entangle and untangle in Pierre Creton’s A Prince: first, of hortology, and second, of desire. Accompanying this journey is the wayward motion of time and the constant exchange of storytelling perspectives through alternating narrators. The protagonist is Pierre-Joseph, a taciturn student of…
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Continue reading →: Mekong HotelAt times, during their conversations on the balcony of the titular Mekong Hotel, characters seem to be filmed with their backs turned away from the camera; their faces turned towards the river, facing the thither island, and the horizon set at the center of the frame. Even when they’re facing…
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Continue reading →: Living RealityThis week, Le Cinéma Club continues with their New American Cinema series with Philip Thompson’s short Living Reality. The title is a tricky wordplay: living reality does not equal living in reality, but existing within the grainy reality of TV sitcoms becomes the reality of your own. The percolating discomfort…
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If we consider the overview of the world of cinema as a map, then the voyage to connect the scattered dots in between is what we’re invested in. Serge Daney once described voyage as ‘without luggage, totally self-sufficient in his dispossession’. Being a citizen of world cinema is to abandon the luggage of predefined cultural expectations and meet each film and each filmmaker on their own cinematographic terms. If you are down for this journey, please consider subscribing to this travelogue.
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