Film
Rhymes with Bitches: Resurrecting Nelly Kaplan
By Beatrice LoayzaComedy tempers Kaplan’s otherwise sober (if not bleak) subject matter...
Frank Beauvais's Just Don't Think I'll Scream
By Steve EricksonIt’s easy to romanticize a certain kind of French cinephilia—seeing movies in 35mm at the Cinémathèque Française and then having long conversations about them in cafés afterward.
Speaking and Recording and Broadcasting Their Truths
By Esmé HogeveenOver the past few years, much has been said—hastily, thoughtfully, and above all with conviction and abundant evidence—about the gendered experiences faced by women working in the film industry.
The Drift Back: Margaret Tait at 100
By Jesse CummingThe films of Margaret Tait often portray a contradictory sense of time, one that seems suspended while also rushing or galloping forward. The effect, while hinting at philosophically grand ideas, also reflects the founding principles of cinema: moving images borne out of sequential still frames. It's a phenomenon that Tait herself expressed wonder in. "It's mysterious, isn't it?"
In Conversation
BI GAN with Ethan Spigland
In Bi Gan's depictions of his hometown, Kaili, located in the mountainous Guizhou province in southwest China, the streets are unfailingly rain-soaked and it's always night. The buildings are abandoned and everything is beautifully decrepit.
I Forgot Myself
By Jessica Dunn RovinelliI'd been in Berlin last year during the Berlinale, but I'd made a conscious decision to avoid it. I was there to meet with the publisher of a German language novel by Ronald M. Schernikau, und als der prinz mit der kutscher tanzte, wären sie so schön daß der ganze hof in ohnmacht fiel. ein utopische film, which I was adapting into what would become my second feature, So Pretty.
