M. Leary

Even if you haven’t had the opportunity to watch anything by Jordan, the article is worth reading.

Though he has many similar sequences in his work (e.g. the beginning of Heart of Glass, most of Fata Morgana), O’er the Land almost becomes the obverse of Herzog’s ecological cinema. It chooses to look when Herzog speaks. Its poetic edits undo the more patently coherent way Herzog places characters within the wilderness Stratman simply catalogs.

So the long awaited for trailer has hit the internet today, and I think it is safe to say that our collective curiosity is still well-piqued.

Almost everything the internet knows about Hollis Frampton.

Darren Hughes writes about St. Nick and the interesting relationship between critic and filmmaker.

You may reach a point in your life where you look around yourself and wonder: When did the bomb drop? You are feeling survivor emotions, thinking victim thoughts, haunted by the specter of an anonymous trauma. You look through the hum at those close to you, your brother, your lover, your children, and you can […]

It is silent cinema with a hyper-realized Bazinian sense of wonder. Or a Ricoeur rubik’s cube that can be emplotted across a variety of planes.

It resembles the pithy call and response of Hiroshima, mon amour, but can only script Simon’s solitary, confused, anguished voice. He has arrived at the end of the landslide, immobilized. His recitation of “stucke, stucke” in these final moments of darkness calls to mind the use of the word to refer to the corpses of Nazi victims in train, cars and camps.

(Ed. Note: Originally published at Film-Think.)   “Christian filmmaking is coming of age. Christian filmmaking is coming of age!” (Doug Phillips, SAICFF organizer) “…not all things are profitable.” (1 Cor. 6:12) So I was sitting there in my car early on Saturday morning listening to NPR and all these Christians start talking. It was disorienting to […]