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This article is co-published with Sentient.Art.Film, as part of their new monthly newsletter. The Sentient.Art.Film Bulletin is a community newsletter focused around fostering discourse around film exhibition infrastructures, art and cinema cultures, social change, and beyond. Subscribe to the bulletin… Read more
There’s a moment in Sky Hopinka’s 2017 short film, Anti-Objects, or Space Without Path or Boundary, where for just a few frames, a layer of video floats on top of the subtitles. Blink and you’ll miss it, but in those… Read more
In 1977, a characteristically fervid Philip K. Dick arrived to lecture at a science fiction convention and share his experiences from three years earlier, when he became convinced that the world was a simulation, one of many (“there may be 30 or 3,000 of them”) operating simultaneously, glimpses of which he’d seen. Clips from this speech (“If You Find This World Bad, You Should See Some of the Others”) and the Q&A that followed frame Rodney Ascher’s A Glitch in the Matrix. In the five-chapter (plus an epilogue) dive into the world of “simulation theory,” Ascher focuses on five subjects […]
Born in what was then Leningrad, U.S.S.R., Viktor Kossakovsky embarked on his journey to become one of the world’s most celebrated and elemental nonfiction filmmakers with a love of photography and a desire to explore the complexities of Russian history. After taking on various below-the-line roles at the Leningrad Studio of Documentaries, Kossakovsky directed his first feature, Losev, a black-and-white portrait of the elderly Russian philosopher Aleksei Fedorovich Losev. For his next black-and-white film, The Belovs, Kossakovsky turned inward, documenting a spirited but warring brother and his sister living on a farm in a western Russian village he had visited […]
The following interview appears in Filmmaker‘s current Winter ’21 print edition and, a day after Minari won the Golden Globe for Best Foreign Language Film, appears online for all readers for the first time. “There’s a difference between something having happened or something being true,” says writer/director Lee Isaac Chung about the interplay between memory and creation that graces his fourth dramatic feature, Minari. Based on the filmmaker’s childhood—his family moved to the South, where his father hoped to develop a farm—Minari captures a time of familial change and uncertainty with seemingly effortless poetry and wonder. It’s the early 1980s […]