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.
At this year’s Berlin Critics’ Week, I was invited as a guest speaker for the post-screening debate on Kostas Samaras’ MAGIC SKIN.
At this year’s Berlinale, a number of films contend with questions of the archive.
A poignant tribute to the resilience of cinephilia, TALKING ABOUT TREES chronicles the efforts of a group of retired Sudanese filmmakers to revive a defunct cinema.
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.
The transatlantic move between two incredibly robust film cultures has deeply influenced my foray into criticism.