|Man with a Movie Camera
|Memories of Underdevelopment
|Tomás Gutiérrez Alea
|Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
|Histoire(s) du Cinéma
Man with a Movie Camera
Soviet montage, city symphony, and political manifesto.
The first Mexican film to win an award at Cannes, this studio film functions as national allegory, fallen woman melodrama, a conflict of regimes of looking, and a meditation on the stakes of representation. Gabriel Figueroa's cinematography is the coup de grace.
Daffy Duck rails against the animator in this self-reflexive animated short.
Memories of Underdevelopment
While I prefer Death of a Bureaucrat, this portrait of an intellectual in post-revolutionary Cuba captures the experience of ambivalence and alienation during times of social upheaval. Its fragmented narrative, its blending of documentary and fiction, and its rumination on the politics is exemplary of the cinema of the postwar period.
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
A feminist portrait of banal domesticity and a formal exercise in duration, the film is representative of a tradition of feminist art practice of the 1970s and presages the slow cinema that became popular decades later.
Histoire(s) du Cinéma
This collage video project uses the history of cinema's past to meditate on the 20th century and the stories we tell to make sense of it.
A film that lingers in the uncertain, using the play of truth and artifice to re-pose André Bazin’s question, “What is cinema?”
Constructed from decaying archival footage, this experimental film reminds us that cinema in its material form is very much alive and that cinema is all about the tension between archive and contingency.
This film essay is arguably the defining Latin American documentary made in the wake of Third Cinema. In her search for her family's past, Carri's film memoir plays at the borders of memory and forgetting, rumor and evidence, and fiction and documentary.
Jenkins depicts black queer intimacy within the classical structure of the Bildungsroman.