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If one needed a reminder of cinema’s youth as an artistic medium, the dearth of serious attention yet paid to stereoscopic filmmaking would suffice. Happily, the young filmmaker Blake Williams, Texas born and Toronto based, has given his considerable energies (he also works as a critic and academic) to shaping a coherent history of what has so far been achieved in stereoscopy, and, more importantly, pointing toward what work remains to be done.
As inexorable as the executioner’s axe comes the 50th anniversary of ’68, the most innocuous of “revolutionary” commemorations, which Cinéma du Réel wisely decided to celebrate against the grain.
Strange as it sounds, I sometimes think that Nathaniel Dorsky’s films are never clearer than when they slide out of focus. Dorsky often remarks that his films work best when the viewer isn’t trying to understand them, but these shots make sure of that.
Hong Sang-soos The Day After begins with a man raiding his fridge at 4:30 in the morning. As introductory gestures go, it would be easy to mistake Bongwan (Kwon Hae-hyo, a Hong regular) for a man looking to kick-start his day, an early to bed, early to rise type. But, as it turns out, the not-so-responsible Bongwan is simply trying to avoid his wife (Cho Yunhee), the woman with a spot-on hunch her husband is having an affair.