Loren Cass
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The Cinema is a Train: On Steven McQueen’s Hunger
The Cinema is the Train: Part One Economy of Narrative + Abundance of Truth = Poetry in Cinema In an earlier essay for Filmmaker, I argued that “…cinema’s ‘vocabulary of forms’ is typically under-utilized… While there are any number of cinematic languages that could exist, most of the time films tend to rely heavily upon what we could call the basics of film grammar – shot/counter-shot, close-ups, wide shots, over-the-shoulders and reverses, as well as certain editing paces and conventions of lighting and score,” and went on to praise Enter The Void for its progressive formalism. In keeping with Jean-Luc […]
by Zachary Wigon on Aug 24, 2011 -
Director Chris Fuller on Loren Cass
There’s something to be said about not being eager to please. Chris Fuller’s Loren Cass is an aggressively confrontational debut, all the more so because it is so resolutely restrained in its approach. So seemingly oblique is Fuller’s approach that one feasibly could make it through the entire film and not realize that its subject matter is the aftermath of the 1996 St. Petersburg riots; but on the other hand, that subject matter is so deeply ingrained in the film’s form that it doesn’t matter. Loren Cass doesn’t so much deal with its themes as it ingests them, and then […]
by Jason Guerrasio on Jul 29, 2009
