Aaron Brookner and Rodrigo Areias’s Nova ’78 centers around the Nova Convention, a late ’70s avant-garde extravaganza that took place at NYC’s now defunct Entermedia Theater (Second Avenue and 12th Street) in honor of William S. Burroughs’s return to the U.S. after living more than 20 years abroad. It was also a great excuse to gather a who’s who roster of counterculture icons to perform in the presence of the postmodern wordsmith who’d profoundly impacted them all. That would include Patti Smith and Lenny Kaye, Laurie Anderson and Julia Heyward, Allen Ginsberg and Peter Orlovsky, Brion Gysin, Timothy Leary, Merce […]
by Lauren Wissot on Aug 22, 2025
A few black-and-white photos of Locarno’s first editions hung from the walls of the hotel that hosted me there for five days this month. Long before it began to stretch across several venues around town—none more iconic than the Piazza Grande, which every night turns into an 8,000-seat open air theater—the fest originally took place in the garden of Locarno’s Grand Hotel. This is where those pictures were taken. It is August 22, 1946, and they’re watching Giacomo Gentilomo’s My Sun—a crowd-pleaser with which the festival, just relocated from Lugano, opened the first edition in the city it’d be renamed […]
by Leonardo Goi on Aug 21, 2025
For a film about the end of the world, Mare’s Nest is hardly lugubrious. Then again, you could say the same about Ben Rivers’s entire oeuvre. Few directors who’ve kicked off their careers after the proverbial “end of history” have so assiduously used their cameras to imagine what that might look like; fewer still have pictured the Armageddon as existing somewhere between dystopia and utopia. It can be difficult to tell whether Rivers’s films are post- or pre-apocalyptic, if the solitary figures they often center on—like the old hermit riffing on Darwin’s theories from his dilapidated forest hovel in The […]
by Leonardo Goi on Aug 13, 2025