the perks and perils of self-reflexivity

As a send-up of the postmodern discourse about art, The Plagiarists is hilariously successful. But as a work of art in itself, it feels uninviting and closed off, insulated by its own convictions.

berlinale dispatch: detours in the steppe

In the haunting opening sequence of Wang Quan’an’s ÖNDÖG, a car stumbles upon a dead woman in the heart of the Mongolian steppe, its headlights eerily illuminating her naked body.