See Know Evil is the first documentary to describe the art and life of Davide Sorrenti, an icon of 90’s fashion, photography and youth culture.
Born to the renowned Sorrenti family and diagnosed with a rare anemia, Davide spent his youth pushing the limits of experience with raw urgency, his prodigious photos influencing the rise of “heroin chic”, and the media controversy surrounding his death at the age of 20.Read More »
This is the content of the second disc of Wandersplitter aka Moving Shrapnel, in which
Thomas Harlan revists his film and literary work.It is much more than an extra and more something like a second chapter to the first movie(here: link) which focuses more on Harlan’s life.
The two movies that are discussed are Torre Bela, which Harlan filmed during revolutionary uprisings in Portugal in the 70s and his (in)famous Wundkanal, an experiment which in an uncomfortable way explores the limits of art. Robert Kramer
made a movie about Wundkanal calld Notre Nazi.Read More »
After Before is a documentary made by filmmaker and Before Midnight coproducer and actor Athina Rachel Tsangari, from footage she captured on location in Greece during the film’s production, interspersed with candid conversations between Linklater, Delpy, and Hawke after the final day of shooting.Read More »
Kihnu is one of Estonia’s islands, a small piece of land in the Gulf of Riga close to the town of Pärnu. Soosaar looks at the islanders from the point of view of an explorer, just like his filmmaking hero Robert Flaherty once did. Their traditional lifestyle unfolds in front of his camera: customary songs and rituals, and heartfelt images of people’s daily lives. The film takes an anthropological approach to filmmaking, characteristic of a style Soosaar would master in his later pictures.Read More »
Guy Debord’s landmark cinematic analysis of consumer society is based on his influential sociological book “La société du spectacle” (1967). Debord was a leading member of the avant-garde art movement ‘Situationist International’. This cinematic essay uses their method of ‘détournement’ to decontextualize and rearrange preexisting audiovisual materials and texts to critizise them and create new meaning. The result is a subversive collage of ideological (moving) images from socialist and capitalist societies that are presented here as artefacts of a global media ‘spectacle’: Social relations between people are mediated by artificial images and false representations that transform humans into mere passive consumers and ‘spectators’ of their alienated existence. Guy Debord’s motivation was to create a radical social critique and a disruptive, anti-illusionist cinema as an antidote and revolutionary tool against the dominant cultural and sociopolitical forces of his time.Read More »
Quote:
Just like the Russian poet of the film 1983 ‘Nosthalgia’, who, accompanied by his Italian guide and translator, traveled through Italy researching the life of an 18th century Russian composer, Andrey Tarkovskiy, accompanied by his Italian scriptwriter, Tonino Guerra, travels through Italy in order to find the locations for their common filmed effort. During this journey, Guerra constantly induces Tarkovskyi to reflect on his work and on his past as a filmmaker and a poet. The result will be ‘Nostalghia’, a masterpieceRead More »
España 68 (El hoy es malo pero el mañana es mío) aka Spain 68
A documentary about the 1968 student demonstrations and university occupations in Spain.
Spagna ’68, entirely financed by Pier Paolo Pasolini;
the first film in history to be made under and in opposition to a totalitarian regime.Read More »
In this second of a four part series, media artist Harun Farocki explores the interplay between modern warfare and electronic media using computer simulation and documentary footage. Originally presented as a simultaneous four-screen gallery video installation, the separate films are available exclusively on realeyz.tv. Director’s notes to Part II “In Twentynine Palms, we filmed an exercise with around 300 extras playing both Afghan and Iraqi civilian populations. A few dozen Marines stood guard and went on patrol. The maneuver town lay on a piece of land that rose slightly above the desert; its buildings were assembled out of containers. The scene looked like something modeled on the reality of a computer simulation.”Read More »
This chapter considers the fact that the pictures with which preparations were made for war are so very similar to the pictures with which war was evaluated afterward. But there is a difference: The program for commemorating traumatic experiences is somewhat cheaper. Nothing and no-one casts a shadow here.Read More »