The operative sensibility of Rainer Werner Fassbinder’s cinema is panoptical.
The 60 shorts and features in this year’s Migrating Forms festival are not, in any ordinary sense, train movies.
We discussed his aesthetic prerogatives, his interests in documentary traditions, and his forthcoming projects.
The Anchorage is an accomplished film whose generous spirit is harbored by an insistent aesthetic austerity.
The film is ulttimately a stylistically inconsistent, peculiarly overwrought show of jejune storytelling.
Ozu’s film achieves its careful, tender variation of the coming-of-age story without ever smacking of sentimental platitudes.
Melancholy is the operative feeling in Amie Siegel’s DDR/DRR.
Tehroun is less interested in nullifying the dynamic, protean features of its characters than in seeing what happens when they interact.