IFFR2022 Dispatch #3: Hyperrealities
Alonso Aguilar reports on IFFR 2022, focussing in his third dispatch on two films that transport cinema to the realm of the bodily.
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Alonso Aguilar reports on IFFR 2022, focussing in his third dispatch on two films that transport cinema to the realm of the bodily.
Alonso Aguilar reports on IFFR 2022, focussing in his second dispatch on two films in search of meaning in the framework of late capitalism.
Alonso Aguilar reports on IFFR 2022, focussing in his first dispatch on two films that take a sensory approach to memory.
Patrick Preziosi on memory and artistic creation in 'The Souvenir Part II' and B.S. Johnson’s novel 'The Unfortunates'.
Luise Mörke on Joachim Trier's 'The Worst Person in the World'.
Nazeeh Alghazawneh on Fabrice du Welz's 'Inexorable'.
Jack Seibert on Elene Naveriani's 'Wet Sand'.
Hanne Schelstraete on Gaspar Noé's 'Vortex'.
Jovana Gjorgjiovska on Clara Roquet's 'Libertad'.
Nazeeh Alghazawneh on Alexandre Koberidze's 'What Do We See When We Look at the Sky? '.
Luise Mörke on Ramon & Silvan Zürcher's 'Das Mädchen und die Spinne'.
Jack Seibert on Nathalie Álvarez Mesén's 'Clara Sola'.
Hanne Schelstraete on Jonas Carpignano's 'A Chiara'.
Jovana Gjorgjiovska on Natalya Merkulova & Aleksey Chupov's 'Captain Volkonogov Escaped'.
Jack Seibert on Apichatpong Weerasethakul's 'Memoria'.
Nazeeh Alghazawneh on Laura Wandel's 'Un monde'.
Jovana Gjorgjiovska on Christos Nikou's 'Apples'.
Hanne Schelstraete on Pablo Larraín's 'Spencer'.
Luise Mörke on Jessica Beshir's 'Faya Dayi'.
A closer look at how Greek cinema addresses the question of freedom from the 1950s onwards, in ways both conventional and unconventional.
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