“If we were to take up these parts, Strafer seems to ask, what would still shock us, and what would cease to?”
My first column for @FilmmakerMag, on Jordan Strafer's TALK SHOW at the @whitneymuseum Biennial.
Many thanks to @celizotte & @nataliakeogan!
https://t.co/BKG6x6i7U3
Not to perpetuate the I Went on a Cruise Ship thing but I did briefly sail to the Bahamas with a bunch of celebrity impersonators https://t.co/VOLEJswTic
“The chase finally ends at the cemetery—the world’s oldest theme park.”
On bloodsuckers and bullshitters, for the booklet of @radujude’s DRACULA, out from @12specialfilms and @VinegarSyndrome
https://t.co/ExCm028l3M
“Welshness manifested around me as a quality both bone-deep and lightly worn.” Henry Rees-Sheridan on eisteddfods, Plaid Cymru, and the “still here”-ness of a people.
In our new issue, Henry Rees-Sheridan considers the uncertain future of Welsh identity, Welsh politics, and the Welsh language.
https://t.co/5Ay8D97ebW
“He thinks, not for the first time, that he has chosen his profession poorly.”
On the early Soviet silents of Boris Barnet, some of which play this weekend at @Metrograph.
https://t.co/MHBJDt3ixI
As @metrograph begins its Boris Barnet retrospective today, we have decided to make the first issue of Outskirts—with its extensive dossier of translations and texts on Barnet's films—available for free as a downloadable PDF.
Go to https://t.co/2Nx0P9Y2D7 to download directly.
“He thinks, not for the first time, that he has chosen his profession poorly.”
On the early Soviet silents of Boris Barnet, some of which play this weekend at @Metrograph.
https://t.co/MHBJDt3ixI
Come for my cameo as a pilgrim with terrible German accent; stay for a profound exegesis of the first book in English published by a woman, who was at the time legally dead and living in the walls of a church.
@JohnDeMarsico 💔 It’s been such a blessing to see this team through your eyes, John. Your broadcasts have often been the most compelling reason to watch. Someone at SNY evidently didn’t know that they had, but I can only hope that another fanbase is about to find out what they’ve been missing.
"[Lav] Diaz made only one take of each shot through his fixed frame, and each set-up is calibrated to convey a single idea. The result is a bracing semantic economy..."
Revisit Maxwell Paparella (@44getting) on MAGELLAN: https://t.co/O6OgKsJq6h
Friends, oomfs, and followers! I’m launching a Substack called Pour-over Film, where I’ll be periodically publishing original writing and translation, mostly focusing on Korean cinema and film culture in Korea. Here’s a short intro:
https://t.co/jMdJf34HbM
For @mubinotebook, I contributed supplemental reporting from the picket lines of @nycalamounited’s strike, with amazing photographs by @eleanorpetry. https://t.co/P0dPCSnpny
For @mubinotebook, I wrote a dispatch from the third edition of @filmfestknox, a festival dedicated to American regional cinema set in the shadow of old World’s Fair architecture. https://t.co/BKCxxifuHU