Over its six years of existence, Kashish has grown into south Asia’s biggest queer film festival, was voted as one of the top five LGBT festivals in the world, and is today India’s only LGBT film festival to be given official permission to be held in a mainstream cinema hall.
In this Reverse Shot Talkie, director Matías Piñeiro browses the aisles of a Greenwich Village bookstore with host Eric Hynes to talk about adaptation as an art of taking liberties, the beauty of mess, and his ongoing relationship with William Shakespeare, whose plays have inspired many of his films, including his latest, The Princess of France.
Yang’s games are explicitly political, explicitly homoerotic, explicitly masculine. They are technologically proficient and artistically confident. They are some of the most exciting works produced in the video game form in recent times, and are well worth engaging with.
”When I was starting to make Eden, people told me that my main character was too passive or too negative; when you write scripts and try to get financing, that’s the sort of thing that you’re told not to do, or that people don’t want to see that. People said that it should be a success story.”
Whether a child will grasp this all enough for it to resonate is questionable, but adults are invited to reflect on their own lives, likely filled with crumbled islands, doors once open, shut, often cruelly, in our faces by fate, luck, our own weakness or inability. Life, suggests Inside Out, is destined to include disappointment.
Like Olivier Assayas in Something in the Air, Hansen-Love is smart enough to show that adolescent collectives are at least as much about the rush of experiencing something—be it a rave or a protest rally—in close physical proximity to one’s peers as the thing itself.
For many of us, at some point in our upbringing, the movies variously played the part of babysitter, behavioral role model, playground inspiration, and substitute parent. For the six Angulo Brothers of the Lower East Side, stars of The Wolfpack, you might say that the movies were very nearly everything.
Arabian Nights is essentially composed of a series of indulgences and digressions—some angry and some absurd, but all imaginatively composed and invigoratingly unconcerned with the boundaries of traditional storytelling. Nothing at Cannes could match its ambition.
Mad Men is about a young nation’s dubious promise and potential for continual reinvention, and the desire this instills in the individual to forget one’s history and past, and in its place, construct another life and identity afresh.
Each of these set pieces is superbly executed within Andersson’s trademark long-take style, and the dichotomies they set up—between past and present, reality and fantasy, and comedy and melancholy—are potent and suggestive. They are all also basically copies of scenes that the director has done before.
His latest film and fourth feature, Uncertain Terms, is perhaps Silver’s most mature depiction of imperfect love to date. As the title suggests, it focuses on relationships whose terms are in constant flux, setting its characters off on identity quests.
A compact 94 minutes, Heaven Knows What is a movie with feverish drive, dragged this way and that by Harley’s appetites and Ilya’s whim to carrot-on-a-stick her around with the promise of reciprocal affection. Throughout, the perspective commutes regularly between swooning intimacy and bystander detachment.
The “Sensory Stories” exhibit at Museum of the Moving Image is a playground for visitors of all ages to have personal encounters with emerging media technologies, novel interfaces, and experimental narrative forms that haven’t yet stabilized as familiar conventions.