Kun-jae Jang – Han yeo-reum-ui pan-ta-ji-a AKA A Midsummer’s Fantasia (2014)

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Split into two parts, shot in black and white, the opening chapter First Love, Yoshiko follows a Korean director (Lim Hyung-kook) who is scouting for locations for his next film in the Japanese rural town of Gojo, and is joined by his assistant director Mijung (Kim Sae-byuk) who interprets for him. There he meets the locals including an elderly lady and a civil servant (Ryo Iwase) who helps him tour the area. The second part, Well of Sakura, captured in colour, is inspired by a story told in the opening chapter of a romance between a Korean woman and a local man. Mijung is now an actress while the civil servant is a persimmon farmer as they walk around the town and learn about each other. Continue reading Kun-jae Jang – Han yeo-reum-ui pan-ta-ji-a AKA A Midsummer’s Fantasia (2014)

Juan Taratuto – Papeles en el viento AKA Papers in the Wind (2015)

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When Alejandro “Mono” dies, his brother and two closest friends, a tight-knit group since childhood, are left to figure out how to take care of his young daughter, Guadalupe. They want to give her all the love they felt for Mono and secure her future, but there isn’t a single peso left in the bank. Mono invested all of his money in a promising soccer player whose promise hasn’t panned out, and the three hundred thousand dollars Mono spent on his transfer is soon to be lost for good. How do you sell a forward who can’t score a goal? How do you maintain relationships when repeated failures create fissures in lifelong loyalties? Fernando, Mauricio, and “Ruso” pool the few resources in their arsenal to come up with strategies in their desperate attempt to recoup Mono’s investment for Guadalupe. Papers in the Wind is a tribute to friendship and proof that love and humor can triumph over sadness. Continue reading Juan Taratuto – Papeles en el viento AKA Papers in the Wind (2015)

Barbara Hammer – Maya Deren’s Sink (2011)

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This evocative tribute to the mother of American avantgarde film calls forth the spirit of one who was larger than life as recounted by those who knew her. Friends and contemporaries float through her homes, recalling in tiny bits and pieces words of Deren’s architectural and personal interior space. Clips from her films are projected back into the spaces where they were originally filmed. Fluid light projections of intimate space provide an elusive agency for a filmmaker most of us will never know.”
BERLINALE Continue reading Barbara Hammer – Maya Deren’s Sink (2011)

James Benning – Measuring Change (2016)

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Synopsis
Measuring Change consists of two shots, which run for about 30 minutes each. The camera is completely still and its placement seems to be exactly the same for both. The film revisits Robert Smithson’s Spiral Jetty, his landmark 1970 sculptural work on the northeast shore of the Great Salt Lake, which the director had already interacted with in Casting a Glance (2007). The filmmaker seemingly repeats the vantage point of one of the shots he made ten years before, allowing the jetty to spiral towards the center of the frame. Yet, there are two major differences. While Casting a Glance was shot on 16mm, and dealt with the durational limitations of the film reel, Measuring Change is shot on digital, which allows one to watch Smithson’s work through Benning’s camera for a much longer period of time (in the Q&A after the screening, he mentioned that he actually prefers the digital image over film – something one doesn’t hear often coming from filmmakers). The other difference is that this time the lake has receded so far back that the Smithson’s piece is completely surrounded by land, while the shore gets lost in the horizon. Continue reading James Benning – Measuring Change (2016)

Mia Hansen-Løve – Eden (2014) (HD)

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Mia Hansen-Løve’s Eden, co-written with her brother Sven Hansen-Løve, is based on 20 years of his life as a DJ of electronic music, during the heyday of French Touch. While it is as personal as her previous film Un amour de jeunesse, the rhythm of Eden is structured by the music. Authenticity remains key, which does not necessarily mean naturalism. Hansen-Løve’s momentary excursions into animation, split screen, and possibly re-writing of world history are the most effective parts. EyeForFilm Continue reading Mia Hansen-Løve – Eden (2014) (HD)