Willow Maclay and Caden Mark Gardner invite critics and RS contributors Sam Bodrojan and Mackenzie Lukenbill to discuss the work of David Cronenberg and the trans metaphors and tactility of his latest film, Crimes of the Future.
This was the first year that the film curators of MoMI visited the Cannes Film Festival together. Eric Hynes and Edo Choi compare notes on the scene, the culture of the festival, the slate, and what it might mean for MoMI.
One unifying concept ties it all together, Faraut believes, and that is the idea of time and the ability of a good director and a good tennis player to sculpt within it. His ideas are deeply rooted in the theories of Serge Daney.
The film dissects the status of Bangladesh as a postcolonial nation that, like many other postcolonial nations, tries to establish itself as a free nation while holding onto symbols that tie it back to the period it wants to (impossibly) outgrow.
These evidential images provide a midpoint between knowledge and history, and between a subjective and objective truth. This is the framework for Loznitsa’s archival cinema: a kind of foundation on which we can build a better understanding of the world.