tag:blogger.com,1999:blog-4401802478512583792024-02-20T15:33:44.758-05:00 The Mongrel MuseTanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.comBlogger81125tag:blogger.com,1999:blog-440180247851258379.post-59891298981708831882016-11-19T17:03:00.000-05:002016-11-19T17:03:51.263-05:00Brooklyn Magazine Capsules (July - November 2016)<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><i>Anguish</i></td></tr>
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Here's a roundup of blurbs I wrote for <i>Brooklyn Magazine </i>in the last few months:<br />
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<ul style="text-align: left;">
<li><a href="http://www.bkmag.com/2016/11/02/nyc-repertory-cinema-picks-november-2-8/2/" target="_blank"><i>Anguish </i>(Bigas Luna, 1987)</a></li>
</ul>
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<li><a href="http://www.bkmag.com/2016/08/17/nyc-repertory-cinema-picks-august-17-23/7/" target="_blank"><i>The Balkan Spy</i> (Dušan Kovačević and Božidar Nikolić, 1984)</a></li>
</ul>
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<li><a href="http://www.bkmag.com/2016/09/21/nyc-repertory-cinema-picks-september-21-27/4/" target="_blank"><i>Born to Win </i>(Ivan Passer, 1971)</a></li>
</ul>
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<li><a href="http://www.bkmag.com/2016/11/09/repertory-cinema-picks-november-9-15/4/" target="_blank"><i>Carnival in the Night </i>(Masashi Yamamoto, 1981)</a></li>
</ul>
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<li><a href="http://www.bkmag.com/2016/10/26/halloween-repertory-cinema-picks/8/" target="_blank"><i>Don't Torture a Duckling </i>(Lucio Fulci, 1972)</a></li>
</ul>
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<li><a href="http://www.bkmag.com/2016/08/17/nyc-repertory-cinema-picks-august-17-23/6/" target="_blank"><i>The Fool Killer </i>(Servando González, 1965)</a></li>
</ul>
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<li><a href="http://www.bkmag.com/2016/09/14/nyc-repertory-cinema-picks-september-14-20/2/" target="_blank"><i>The Roaring Twenties</i> (Raoul Walsh, 1939)</a></li>
</ul>
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<li><a href="http://www.bkmag.com/2016/11/02/nyc-repertory-cinema-picks-november-2-8/6/" target="_blank"><i>Sailor Suit and Machine Gun </i>(Shinji Sômai, 1981)</a></li>
</ul>
<ul style="text-align: left;">
<li><a href="http://www.bkmag.com/2016/08/31/nyc-repertory-cinema-picks-august-31-september-6/4/" target="_blank"><i>Un témoin dans la ville </i>(Édouard Molinaro, 1959)</a></li>
</ul>
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Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-66485746996921515692016-11-19T16:11:00.000-05:002016-11-19T16:12:20.413-05:00Coverage of The 54th New York Film Festival<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><i>The Ornithologist </i>(Joāo Pedro Rodrigues, 2016) </td></tr>
</tbody></table>
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The 54th New York Film Festival was strong, maybe not as strong as the 52nd, but strong nonetheless. I saw many good films and a few great films (<i>A Quiet Passion </i>and <i>The Death of Louis XIV). </i>Below you'll find a collection of pieces I wrote for <i>Brooklyn Magazine</i>, <i>Desistfilm</i>, and <i>Hyperallergic</i>:<br />
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<ul style="text-align: left;">
<li><a href="http://www.bkmag.com/2016/10/12/nyc-repertory-cinema-picks-october-12-18/" target="_blank"><i>Spawn of the North </i>(Henry Hathaway, 1938), <i>Brooklyn Magazine</i></a></li>
</ul>
<ul style="text-align: left;">
<li><a href="http://blog.desistfilm.com/2016/10/07/nyff-2016-i-called-him-morgan-by-kasper-collin-eng/" target="_blank"><i>I Called Him Morgan </i>(Kasper Collin, 2016), <i>Desistfilm</i></a></li>
</ul>
<div>
<ul style="text-align: left;">
<li><i><a href="http://blog.desistfilm.com/2016/09/30/panorama-neruda-by-pablo-larrain-eng/" target="_blank"><i>Neruda </i><span style="font-style: normal;">(Pablo Larraín, 2016), </span><i>Desistfilm</i></a></i></li>
</ul>
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<ul style="text-align: left;">
<li><a href="http://blog.desistfilm.com/2016/10/03/panorama-paterson-by-jim-jarmusch-eng/" target="_blank"><i>Paterson </i>(Jim Jarmusch, 2016), <i>Desistfilm</i></a></li>
</ul>
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<ul style="text-align: left;">
<li><a href="http://hyperallergic.com/327971/film-captures-slow-painful-breathtaking-death-louis-xiv/" target="_blank"><i>"</i>A Film Captures the Slow, Painful, and Breathtaking Death of Louis XIV," [<i>The Death of Louis XIV</i>, Albert Serra, 2016], <i>Hyperallergic</i></a></li>
</ul>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNjEHe7lGIrfzQbEshDo23IkFa_QOoog28chR8yfAwPexnCcQoxBIxeEL2JjpkXid8IbvIMLSfgT-atwYOuYb4O-lNY2GsoEhXCDEAoWHo-7O7gYsWHfcbLpXp7gBgSw5JwCYmx-H4PQ8i/s1600/Cilaos.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNjEHe7lGIrfzQbEshDo23IkFa_QOoog28chR8yfAwPexnCcQoxBIxeEL2JjpkXid8IbvIMLSfgT-atwYOuYb4O-lNY2GsoEhXCDEAoWHo-7O7gYsWHfcbLpXp7gBgSw5JwCYmx-H4PQ8i/s320/Cilaos.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Cilaos </i>(Camilo Restrepo, 2016)</td></tr>
</tbody></table>
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Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-35199265077857248552016-09-24T15:39:00.002-04:002016-09-24T15:39:28.622-04:00Drum (Keywan Karimi, 2016)<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkeotZL-V9rHgIXcUNiZowf3Tk-9nxt1JU8MMXgQgPpQqjugFDhzFcWnm8d3wove6a8jWuPg2iEsAh7dJYsuUfKCwXPHGxHaypUfNyBFT91YPf7ThWKL1ZyYk2SzFP1-E0hITWWpxN9zOc/s1600/1473851794editor_31.SIC_-_DRUM_-_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkeotZL-V9rHgIXcUNiZowf3Tk-9nxt1JU8MMXgQgPpQqjugFDhzFcWnm8d3wove6a8jWuPg2iEsAh7dJYsuUfKCwXPHGxHaypUfNyBFT91YPf7ThWKL1ZyYk2SzFP1-E0hITWWpxN9zOc/s320/1473851794editor_31.SIC_-_DRUM_-_2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Drum </i>(Keywan Karimi, 2016)<br /></td></tr>
</tbody></table>
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<div class="MsoNormal">
On October 13th, 2015, the Islamic Revolutionary Court
sentenced the Kurdish-Iranian filmmaker Keywan Karimi to six years in prison
and 223 lashes for “Writing on the City” (2015), a documentary short about the
graffiti in Tehran from the 1979 Islamic Revolution to the re-election of Mahmoud
Ahmadinejad in 2009. Karimi appealed and had his sentence reduced to one year
in prison, 223 lashes, and a fine of 20 million Rials (approximately 660 USD). The ruling is final. This form of capital punishment
is reprehensible and an attack on freedom of expression. Many intellectuals,
artists, and organizations decried this violent act of censorship. <a href="http://www.sansebastianfestival.com/2015/noticias/1/5632/in" target="_blank">The SanSebastian Festival</a> rejected the ruling. At Cannes this year, filmmakers and
professionals signed a document written by the <a href="https://www.europeanfilmacademy.org/News-detail.155.0.html?&tx_ttnews%5Btt_news%5D=411&cHash=5ddbc57b2171f6c9745e184545cd05cd" target="_blank">European Film Academy</a>. It
asked the Iranian authorities to grant Karimi clemency. To raise awareness, the <a href="http://www.puntodevistafestival.com/en/noticias.asp?IdNoticia=428" target="_blank">Punto de Vista Festival</a> asked filmmakers to make a short uttering one word for each of the 223 lashes. <a href="https://vimeo.com/151072153" target="_blank">Agnès Varda</a>, for instance, says "hope" in her video. And in a piece for <i><a href="http://www.aljazeera.com/indepth/opinion/2015/10/akhmatova-mayakovsky-keywan-karimi-iran-151020083744017.html" target="_blank">Al Jezeera</a>,</i> Columbia
University professor Hamid Dabashi described a moving encounter with Karimi,
saying the director “hails from the Kiarostami corner of our global visions of
truth.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As of now, Karimi is in a limbo state. He hasn’t been
imprisoned yet, and he cannot leave the country. In effect, Karimi is under
house arrest. Still, Keywan remains creative. Like Jafar Panahi, Karimi shot
his first feature, <i>Drum </i>(2016),
secretly in Tehran. It has the look and feel of a subterranean movie.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<i>Drum</i> opens with a
low-angle shot. In it, a man with a limp drags himself along a narrow and
desolate street. In his hands he cradles a package. He brushes past the few
people who cross his path. As with the rest of the film, the scene is in stark
black-and-white, and the post-sync sound is sharp. This beginning has the right
amount of poetic abstraction that Karimi sustains for the rest of the film. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The noir-tinged story is deliberately thin. The limping
man delivers the package to a washed-up lawyer. With the help of his friend, a
junkie who talks to himself by whispering into his collar, they hide it. But
mobsters come knocking, demanding the coveted package. When they murder his
wife, the lawyer seeks revenge.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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From this stock pulp story (adapted from Ali-Morad
Fadaei-Nia’s eponymous book), Karimi creates a film sopping with atmosphere. <i>Drum </i>is a slow-burning mood piece with
snaking camera movements that crawl backwards, diminishing the on-screen action
that’s now taking place in the background. Its slow camera movement,
high-contrast black-and-white cinematography, and emphatic post-sync sound
design, share a passing resemblance to Nuri Bilge Ceylan and Béla Tarr’s work.
And aside from <a href="https://vimeo.com/64127277" target="_blank">“The Adventures of a Married Couple” (2013)</a>, <i>Drum </i>is nothing quite like Karimi’s
prior shorts.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
None of the characters in <i>Drum </i>have a name, hence an identity. What reverberates is Tehran.
Characters utter the name of the city throughout the film. <i>Drum </i>transforms Tehran into harsh lines and pools of light and
darkness. It becomes a shadow world where one gets lost, but never found. <o:p></o:p></div>
<!--EndFragment--><br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-55729268119735421552016-09-24T14:45:00.000-04:002016-09-24T14:45:09.304-04:00Movie in My Head: Bruce Conner and Beyond<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh95WkqEvxRPLNpt9N7EJv583kkfhUtlnJy5v8CWV2geO9Ff0nte51xD7v3xSFnSNU7FbzichMQnLlV-V-rtYNVGVeqghpeFCXAJrwsKA0fhMBaxqOSmOATXCiiymbEecxZ74-SbZGn_8TI/s1600/zoom_1467754126_A+MOVIE.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh95WkqEvxRPLNpt9N7EJv583kkfhUtlnJy5v8CWV2geO9Ff0nte51xD7v3xSFnSNU7FbzichMQnLlV-V-rtYNVGVeqghpeFCXAJrwsKA0fhMBaxqOSmOATXCiiymbEecxZ74-SbZGn_8TI/s320/zoom_1467754126_A+MOVIE.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>A Movie </i>(Bruce Conner, 1959)<br /><br /></td></tr>
</tbody></table>
For <i><a href="http://www.villagevoice.com/event/movie-in-my-head-9104097" target="_blank">The Village Voice</a></i>, I wrote a brief notice on the Museum of Modern Art's <a href="http://www.moma.org/calendar/film/2720?locale=en" target="_blank">recent film series</a> devoted to Bruce Conner.<br /><br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-91913438174988812422016-09-11T20:08:00.000-04:002016-09-11T20:08:29.004-04:00The Crude and Chaotic Art of “Strata-Cut” Claymation [On David Daniels]<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ1FRtO3Sr6AKb3StRu-PsEUSysZiJqMHK0RexcJlrTZl1ZspY8_f3N2VhVtzF-DyzvkLyh00WIQofJ_hXwBEWFk96WDl9DOJwusvtZM-PRuh1wLD5TtsEOGrBTQG2e5cd9lLn8StI2Lbr/s1600/Acid.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ1FRtO3Sr6AKb3StRu-PsEUSysZiJqMHK0RexcJlrTZl1ZspY8_f3N2VhVtzF-DyzvkLyh00WIQofJ_hXwBEWFk96WDl9DOJwusvtZM-PRuh1wLD5TtsEOGrBTQG2e5cd9lLn8StI2Lbr/s320/Acid.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still from the 'acid trip' sequence in an episode of 'Gary and Mike'<i> </i>(2001)</td></tr>
</tbody></table>
For <i><a href="http://hyperallergic.com/321476/the-crude-and-chaotic-art-of-strata-cut-claymation/" target="_blank">Hyperallergic</a></i>, I take a look at a form of Claymation, 'Strata-Cut,' and the animator who pioneered it, David Daniels.<br />
<br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-14326043023087720002016-09-11T20:03:00.000-04:002016-09-11T20:03:20.699-04:00Matthew Barney: Facility of DECLINE<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwaGpFMyoX3BZBNFzqUeiDI4-KXRsZR9RtEGapVsbclkvvKWq4PeMQLmj3DgpHdpLkKQ965yV3k2MUbi5RpFP3NJ93UPwfPb4xz9cypWIzQvtBCpp6IWETzlf-cE0PbZRr1k_PMwJHSPqP/s1600/screen_shot_2016-09-06_at_9.41.05_pm.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwaGpFMyoX3BZBNFzqUeiDI4-KXRsZR9RtEGapVsbclkvvKWq4PeMQLmj3DgpHdpLkKQ965yV3k2MUbi5RpFP3NJ93UPwfPb4xz9cypWIzQvtBCpp6IWETzlf-cE0PbZRr1k_PMwJHSPqP/s320/screen_shot_2016-09-06_at_9.41.05_pm.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still from Matthew Barney's <i>AutoDRONE </i>(1992) courtesy the artist and Gladstone Gallery</td></tr>
</tbody></table>
<br />Matthew Barney's first New York show returns to the Barbara Gladstone Gallery (September 9th-October 22). I wrote a few words on it for <i><a href="http://www.villagevoice.com/event/matthew-barney-facility-of-decline-9075690" target="_blank">The Village Voice</a></i>.<br /><br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com1tag:blogger.com,1999:blog-440180247851258379.post-45860951778354718132016-09-11T19:47:00.000-04:002016-09-11T19:47:55.951-04:00David Holzman's Diary (Jim McBride, 1967)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwN6it5zNwNy-GLxpg2mmekIF6iMMoRzNTH0wqMwAZp3XZo-4KkmRA9zdHEbAcEMk7aLBQEhLvMH0wBbEQeIgHDDRrsYT3VMEjgQC2lOB2ayzkLK2nVjrmVNmUdx8ifW_couNeGuMh7jzm/s1600/davidholzman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwN6it5zNwNy-GLxpg2mmekIF6iMMoRzNTH0wqMwAZp3XZo-4KkmRA9zdHEbAcEMk7aLBQEhLvMH0wBbEQeIgHDDRrsYT3VMEjgQC2lOB2ayzkLK2nVjrmVNmUdx8ifW_couNeGuMh7jzm/s320/davidholzman.jpg" width="320" /></a></div>
<br />
For <i><a href="http://www.villagevoice.com/event/david-holzmans-diary-9046631" target="_blank">The Village Voice</a></i>, I wrote a blurb on Jim McBride's seminal film. </div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-33216609191866246582016-09-11T19:38:00.000-04:002016-09-11T19:38:31.334-04:00In the Country (Anders Jedenfors, 2014)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxHbPApKNx_D81SJALjz_SXP-lhP5zckw18Ai0I7xsSnoHTE2VySG7LVrQ5rLoEm1YKKAFUm2wRwyVT0FvS502KRdEBXHd8uY4norL0jSHbw1bYHcD_bEIpilxPqE5grKQjAOG2AIyV2Sk/s1600/vlcsnap-2016-09-06-21h18m49s868.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxHbPApKNx_D81SJALjz_SXP-lhP5zckw18Ai0I7xsSnoHTE2VySG7LVrQ5rLoEm1YKKAFUm2wRwyVT0FvS502KRdEBXHd8uY4norL0jSHbw1bYHcD_bEIpilxPqE5grKQjAOG2AIyV2Sk/s320/vlcsnap-2016-09-06-21h18m49s868.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">In the Country</i> is
a slick black-and-white, medium-length observational documentary. Anders
Jedenfors follows the daily routines of a middle-aged Swedish couple. Lena and
Gunvall Carlsson live in the country and, for the most part, have only each
other for company. There’s plenty of dead time, which they fill listening to
music, dancing, doing housework, cooking dinner. Lena and Gunvall chat, but the
conversations are a bit facile; they remain on the surface. You sense an
invisible barrier between the two. The first red flag that something’s amiss is
that they sleep in separate beds in separate rooms. Later, in one of the film’s
rare instances of a direct address, Lena tells Jedenfors why she sleeps alone.
She says they have different sleep patterns. It sounds unconvincing. It’s not
until film’s end that Jedenfors reveals why their relationship is chilly. It’s
a kind of reveal that makes you reflect on everything that you saw leading up to
it. And it’s also a reveal that’s inappropriate for such a documentary.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Shot on high-contrast film, <i style="mso-bidi-font-style: normal;">In the Country</i> looks polished, but also rough-hewn. Jedenfors pays
careful attention to compositions. In long shots, he not only frames Lena or
Gunvall, he also captures the space around them as well. Jedenfors will
alternate these shots with extreme mobile-close ups, shooting inches away from
bodies and faces. In fact, <i style="mso-bidi-font-style: normal;">In the Country</i>
is a bit too composed. A pre-title, one-take traveling shot follows Lena from
behind as she walks along a road, reaches her home, and shovels snow off her
front door. It’s a calling card shot, indicating a film that asserts its formal
bravado. It becomes questionable, even unbearable, when applied to the
narrative structure. It’s a documentary that leads up to a reveal that drums up
shock for an actual incident in this couple’s life. By basing the film around
this reveal, Jedenfors uses it as an affective strategy to wake up the viewers.
One person's gnawing pain, another's entertainment. Reducing it to a narrative shock
tactic, <i style="mso-bidi-font-style: normal;">In the Country</i> doesn’t pay
suffering the respect it deserves.<o:p></o:p></div>
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Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-63215746741609731192016-08-30T11:24:00.000-04:002016-08-30T11:24:07.527-04:00Go Down Death (Aaron Schimberg, 2013)<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXddKI4cjspjlzlHkCzvpdqhlq1Ye4hmRrvjBR8ranaAfb2KqF-BkyNNColHnNvffXs32JWpR8eIsP8clBcG_scseOf4H6sDyNK7n_fZq4_kRN6MAqax0frrKuCNg9HnOanR1aK6FkyJu-/s1600/002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXddKI4cjspjlzlHkCzvpdqhlq1Ye4hmRrvjBR8ranaAfb2KqF-BkyNNColHnNvffXs32JWpR8eIsP8clBcG_scseOf4H6sDyNK7n_fZq4_kRN6MAqax0frrKuCNg9HnOanR1aK6FkyJu-/s320/002.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Go Down Death<br /></i></td></tr>
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<i>Go Down Death</i> is
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Zachary Treitz’s <i>Men
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half-recalled and imagined moments from the dustbin of American history. <i>Go Down Death</i> is fabulist folklorama. <o:p></o:p></div>
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Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-44079480792549152762016-08-30T11:05:00.001-04:002016-08-30T11:05:54.085-04:00Rita Azevedo Gomes' Amorous Atmosphere<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiID5vz_LSXe3uo6yl51anCvvMWZQ8CyeZUpy11SgJx0LTy6nbQJ88I99OXfJV1c7BYSYeH06yLv-VTDmfbX47Hqk-YwcLuHxEaI6aimf9dStTuLAiNlXEvXBDD4WJxI4Iu30ciJsH44Rbv/s1600/vlcsnap-2016-08-06-14h31m45s991.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiID5vz_LSXe3uo6yl51anCvvMWZQ8CyeZUpy11SgJx0LTy6nbQJ88I99OXfJV1c7BYSYeH06yLv-VTDmfbX47Hqk-YwcLuHxEaI6aimf9dStTuLAiNlXEvXBDD4WJxI4Iu30ciJsH44Rbv/s320/vlcsnap-2016-08-06-14h31m45s991.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Fragile as the World </i>(Rita Azevedo Gomes, 2002)<br /><br /></td></tr>
</tbody></table>
For <i><a href="http://chiseler.org/post/149322974976/rita-azevedo-gomes-amorous-atmosphere" target="_blank">The Chiseler</a></i>, I track a gesture that appears in a pair of films (<i>Fragile as the World</i> and <i>A Woman's Revenge</i> [2012]) by the under-appreciated Portuguese filmmaker, Rita Azevedo Gomes.<br /><br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-30118270047767869942016-08-22T10:11:00.000-04:002016-08-22T10:11:00.706-04:00Dark in the White Light (Vimukthi Jayasundara, 2015)<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><i>Dark in the White Light</i></td></tr>
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<i>Dark in the White
Light</i> has something to do with death. Three men—a surgeon, an organ dealer,
and a student—suffer and wander in the jungles of Sri Lanka. They are stark
characters—mere figures in fact—in this contemplative and horrifying meditation
on life, death, and the state between the two. <o:p></o:p></div>
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<br /></div>
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<i>Dark in the White
Light</i> competed in the main slate at the 2015 Locarno Film Festival.
Jayasundara rose to prominence when he won the Camera d’Or at Cannes for his
first feature, <i>The Forsaken Land </i>(2005).
Ever since then, he has been a staple of the festival circuit. Judging from <i>Dark in the White Light</i>, I can see why.
The film uses long shot, long takes, the stock-in-trade of art house cinema. Jayasundara
stands out by enlivening this default aesthetic. In bold shots, Jayasundara
shows his knowledge of space and spatial relations, often staging action in the
background. These shots draw attention to bodies that are raped, stabbed,
hanged, burned, and beaten. By focusing on body trauma, <i>Dark in the White Light</i> threatens to become an art house
miserablist film. It says little about violence, but shows a lot of it. A young
Buddhist monk learns of an ever-present “Lord of Death.” It’s in the air. From
scene to scene, you wait for death and his brother, violence, to make their inevitable
appearances. Death and violence are as concrete and abstract as the film’s
poetic title. <o:p></o:p></div>
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<br /></div>
<!--EndFragment--><br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-13709704958237914682016-08-16T17:41:00.000-04:002016-08-16T17:44:19.076-04:00Autohead (Rohit Mittal, 2016)<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh-lPLqGPFf93eng3zGifJXreRt1cLAiY1L0IotfTC_Uzcoe9nCBz9ruf-89bSJooBBYrO4mBFU2VIGIcs8cRhQIeL4dxofKCKsrwAoEbvVFDQ8Me_Z-y0cqywD0YlGKcduIIXcd69lTFz/s1600/1458661883editor_autohead.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh-lPLqGPFf93eng3zGifJXreRt1cLAiY1L0IotfTC_Uzcoe9nCBz9ruf-89bSJooBBYrO4mBFU2VIGIcs8cRhQIeL4dxofKCKsrwAoEbvVFDQ8Me_Z-y0cqywD0YlGKcduIIXcd69lTFz/s320/1458661883editor_autohead.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Autohead</i> (Rohit Mittal, 2016)</td></tr>
</tbody></table>
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A micro-budget docu-fiction with a
stress on the fiction, <i style="mso-bidi-font-style: normal;">Autohead</i> is
Rohit Mittal’s first feature. A three-man film crew follows the daily life of
Narayan (Deepat Sampat), an auto rickshaw driver in the slums of Mumbai. The
crew documents a thirty-year-old man racked with sexual frustration, growing
paranoia, and seething anger. And things only get worse from there.</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="line-height: 200%; text-indent: 0.5in;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="line-height: 200%; text-indent: 0.5in;">Mittal shows
promise with his first film. </span><i style="line-height: 200%; text-indent: 0.5in;">Autohead</i><span style="line-height: 200%; text-indent: 0.5in;">
appropriates clichéd documentary grammar (handheld shots, direct addresses,
editing in the middle of scenes, moments in which Narayan tells the crew to
stop recording, etc.) to draw attention to cinema’s role with poverty and class
conflict in India. In this way, and as inevitably </span><a href="http://screenanarchy.com/2016/07/pending-bifan-2016-review-autohead.html" style="line-height: 200%; text-indent: 0.5in;">mentioned</a><span style="line-height: 200%; text-indent: 0.5in;">
by </span><a href="http://www.hollywoodreporter.com/review/autohead-filmart-hong-kong-review-875710" style="line-height: 200%; text-indent: 0.5in;">critics</a><span style="line-height: 200%; text-indent: 0.5in;">,
</span><i style="line-height: 200%; text-indent: 0.5in;">Autohead</i><span style="line-height: 200%; text-indent: 0.5in;"> is a blend of </span><i style="line-height: 200%; text-indent: 0.5in;">Man Bites Dog </i><span style="line-height: 200%; text-indent: 0.5in;">(1992) and </span><i style="line-height: 200%; text-indent: 0.5in;">Taxi Driver</i><span style="line-height: 200%; text-indent: 0.5in;"> (1976). But Mittal’s film
doesn’t have the former’s comic exaggeration nor the latter’s full-fledged
urban expressionism. Nor should </span><i style="line-height: 200%; text-indent: 0.5in;">Autohead</i><span style="line-height: 200%; text-indent: 0.5in;">
mirror these qualities exactly. It is its own film after all.</span></div>
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<i style="line-height: 200%; text-indent: 0.5in;"><br /></i></div>
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<i style="line-height: 200%; text-indent: 0.5in;">Autohead</i><span style="line-height: 200%; text-indent: 0.5in;"> poses blunt social issues; it
gushes forth from the dialogue. But what lingers in the mind after a few days
away from the film is Sampat’s performance. A portrait is as good as its
subject, and this is the case with </span><i style="line-height: 200%; text-indent: 0.5in;">Autohead</i><span style="line-height: 200%; text-indent: 0.5in;">.
Captured in long takes, Sampat imbues Narayan as an enigmatic and protean
figure. His behavior erratic, he changes from one scene to the next. He
swaggers like a puffed up peacock, delighted by the attention he gets from the
camera’s eye. He explodes when talking with customers or his mother. Narayan is
an enigma who reveals his riddle by film’s end.</span></div>
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<span style="line-height: 200%; text-indent: 0.5in;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<o:p></o:p></div>
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Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-26296337065520526152016-08-16T17:34:00.000-04:002016-08-16T17:52:33.334-04:00We interrupt this broadcast...<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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A new era dawns on <i>Mongrel Muse</i>. Along with the usual
posts, each week you’ll find fresh content published here. These will be curt, yet casual dispatches on new and new-ish indie
and micro-budget films. They'll also focus on films traveling the festival
circuit that haven’t gotten enough attention. I want to shine a light on movies
that you should keep on your radar and seek out. <a href="http://mongrelmuse.blogspot.com/2016/08/autohead-rohit-mittal-2016.html" target="_blank">The first entry</a> is on Rohit
Mittal’s debut feature, <i>Autohead</i> (2016), which got some buzz at
last year's Film Bazaar.<o:p></o:p></div>
</div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-79625937461332472662016-08-16T17:30:00.000-04:002016-08-16T17:30:52.929-04:00Water Works: A Day in the Country<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidtrbjOki-Sc7eNAj7f3hMNr9IfwPabG5v-QlVVbSBrDqmFZQQe3HL7lvIdSofUqMo9pU7qhmXsnvLahXErE_bLrP8BhzsIfLdbph3v5khXaAvnlx9ozVvMZyhQKJ3_q5CoCZ9zMTQG0yp/s1600/dayinthecountry.water_-768x611.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidtrbjOki-Sc7eNAj7f3hMNr9IfwPabG5v-QlVVbSBrDqmFZQQe3HL7lvIdSofUqMo9pU7qhmXsnvLahXErE_bLrP8BhzsIfLdbph3v5khXaAvnlx9ozVvMZyhQKJ3_q5CoCZ9zMTQG0yp/s320/dayinthecountry.water_-768x611.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>A Day in the Country</i> (Jean Renoir, 1936)<br /><br /></td></tr>
</tbody></table>
For <i><a href="https://www.fandor.com/keyframe/water-works-a-day-in-the-country" target="_blank">Fandor</a></i>, I wrote about water, a motif that runs throughout Jean Renoir's body of work, and reaches an apotheosis in <i>A Day in the Country </i>(1936).<br /><br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-46448874005976303462016-08-14T18:40:00.000-04:002016-08-14T18:40:03.140-04:00Chung Mong-hong: The Antics of a Graphic Sensibility<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2WhN6iNGGoTBHT3ou8xW2H3I3X2cA55bbc5YogXCN2YFng59Db_IZLcRTBKQ3Ka72_h_UJDjsRjygKmEmY_MptrEWKLwlfo28b5Punk5MDZRQKgbXrTS3qm0s8CEt_uHNp2dT_QdOD_oG/s1600/soul.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2WhN6iNGGoTBHT3ou8xW2H3I3X2cA55bbc5YogXCN2YFng59Db_IZLcRTBKQ3Ka72_h_UJDjsRjygKmEmY_MptrEWKLwlfo28b5Punk5MDZRQKgbXrTS3qm0s8CEt_uHNp2dT_QdOD_oG/s320/soul.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Soul </i>(Chung Mong-hong, 2013)<br /><br /></td></tr>
</tbody></table>
For <i><a href="http://chiseler.org/post/148642251066/chung-mong-hong-the-antics-of-a-graphic" target="_blank">The Chiseler</a></i>, I examine a handful of films made by Chung Mong-hong, a rising Taiwanese filmmaker on the festival circuit. Coincidentally, his latest film, <a href="https://www.youtube.com/watch?v=HdHhJL0WQgE&oref=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DHdHhJL0WQgE&has_verified=1" target="_blank"><i>Godspeed</i> (2016)</a> is set to make its world premiere at the Toronto International Film Festival in a few weeks.</div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-40567153554883879142016-08-14T18:22:00.000-04:002016-08-15T14:43:49.795-04:00Show & Tell: John Wiese<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqpdxPcfFDVrnwjeQnRpz8D5VQ3ncUBm1v8roKSVXUvpfpunTy8GJ5bYZ7rIC1G6-bTcPJov_dlpUD0DmibS9I5Hl811M6yT0AnB3H1kEFquyTWwkn-Z6gUAD_8MHHE_YR71V7ekUX7L4i/s1600/screen_shot_2016-08-02_at_12.22.48_pm.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqpdxPcfFDVrnwjeQnRpz8D5VQ3ncUBm1v8roKSVXUvpfpunTy8GJ5bYZ7rIC1G6-bTcPJov_dlpUD0DmibS9I5Hl811M6yT0AnB3H1kEFquyTWwkn-Z6gUAD_8MHHE_YR71V7ekUX7L4i/s320/screen_shot_2016-08-02_at_12.22.48_pm.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Wiese<br />
<br /></td></tr>
</tbody></table>
As part of Anthology Film Archives' ongoing series, "Show & Tell," musician and sound artist John Wiese presented a program of his short films. My <a href="http://www.villagevoice.com/event/show-and-tell-john-wiese-8933292" target="_blank">blurb</a> on the program for <i>The</i> <i>Village Voice</i>.<br />
<br />
The works featured in the program include:<br />
<br />
<div style="text-align: left;">
</div>
<ul style="text-align: left;">
<li><i>Sissy Spacek</i> (2011)</li>
<li><i>The Tenses with John Wiese </i>(2014)</li>
<li><i>Untitled </i>(2014)</li>
<li><i>Leather Bath </i>(2013)</li>
<li><i>Sissy Spacek<span style="font-family: "helvetica" , "arial"; font-size: 14px; font-style: normal; line-height: 18px;">—</span>Matta Gallery </i>(2014)</li>
<li><i>I Bet You Can't Finish That Glass of Water </i>(2014)</li>
<li><i>Three Glass Bottles </i>(2014)</li>
<li><i>A Specific Point in a Continuous Whole </i>(2014)</li>
</ul>
</div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-77586053798091350182016-08-14T18:13:00.000-04:002016-08-15T14:44:05.291-04:00Andrzej Żuławski: On the Silver Globe<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK-q6cGu3CdZxFX2l0xsAU4aKH5_Q2eZ_-wVthXq-QE27J1XYjqD71i6_gkTNyjWQMTn8QW8mmDMRs7SVSw9uUSVr6lm95PrjV9_jqgCNo_yci6DZmTaeRlBMrV8K0svBKoN7EU1do5Bl8/s1600/screen_shot_2016-07-26_at_3.42.34_pm.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK-q6cGu3CdZxFX2l0xsAU4aKH5_Q2eZ_-wVthXq-QE27J1XYjqD71i6_gkTNyjWQMTn8QW8mmDMRs7SVSw9uUSVr6lm95PrjV9_jqgCNo_yci6DZmTaeRlBMrV8K0svBKoN7EU1do5Bl8/s320/screen_shot_2016-07-26_at_3.42.34_pm.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>On the Silver Globe</i> (Andrzej Żuławski, 1988)<br />
<br /></td></tr>
</tbody></table>
For <i>The Village Voice</i>, I wrote <a href="http://www.villagevoice.com/event/andrzej-zulawski-on-the-silver-globe-8906022" target="_blank">a blurb</a> on one of cinema's great incomplete-complete films, Andrzej Żuławski's <i>On the Silver Globe </i>(1988). </div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-89790920684540042052016-07-25T17:44:00.001-04:002016-07-26T08:36:59.166-04:00Techno Clash: Bingham Bryant and Kyle Molzan<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2wgKZpgMpwgyKNhW4vjD4uLpnW_qo7ksACcwNcYmNKZaue9YmxLKzr0avVzebWZZTd_usHSWiVo8el2KbrNmwg8az6Wlkh6bGVxdtKIfm2MjGceiNEy0tfOq0rsRN2O31pJfOTOJLATfZ/s1600/vlcsnap-2014-10-23-01h31m16s75.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2wgKZpgMpwgyKNhW4vjD4uLpnW_qo7ksACcwNcYmNKZaue9YmxLKzr0avVzebWZZTd_usHSWiVo8el2KbrNmwg8az6Wlkh6bGVxdtKIfm2MjGceiNEy0tfOq0rsRN2O31pJfOTOJLATfZ/s320/vlcsnap-2014-10-23-01h31m16s75.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>For the Plasma </i>(Bingham Bryant and Kyle Molzan, 2014)<br />
<br />
<div style="text-align: left;">
For <i><a href="https://www.fandor.com/keyframe/techno-clash-bingham-bryant-and-kyle-molzan" target="_blank">Fandor</a></i>, I interviewed the makers of <i>For the Plasma</i>. Among other things, we talk about technology, the relationship between filmmaking and cinephilia, and <a href="http://keiichisuzuki.com/" target="_blank">Keiichi Suzuki</a>. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
About a year ago, I wrote about Bryant and Molzan's film. You can find my post <a href="http://mongrelmuse.blogspot.com/2015/01/the-circular-square-for-plasma-2014.html" target="_blank">here</a>. </div>
</td></tr>
</tbody></table>
<br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-87726687556768852702016-07-25T17:37:00.001-04:002016-08-15T14:44:27.020-04:00In Direct Address [shorts by Amy Taubin, Paul Arthur, and J. Hoberman]<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx0-37Lo69WswNGqJGbqpfNY7E9OyOUYaSh6QrlndvrrhIKPaafAryau2vA98gN3KjZ68yQfMkIzsZY880pxEKbZ7Pd1-XiuO_OHLjhm7w-qFagHKaYgyNpk24obnlKMYQX2hSOMs8PSpd/s1600/screen_shot_2016-07-19_at_3.48.34_pm.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx0-37Lo69WswNGqJGbqpfNY7E9OyOUYaSh6QrlndvrrhIKPaafAryau2vA98gN3KjZ68yQfMkIzsZY880pxEKbZ7Pd1-XiuO_OHLjhm7w-qFagHKaYgyNpk24obnlKMYQX2hSOMs8PSpd/s320/screen_shot_2016-07-19_at_3.48.34_pm.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>See!</i> (Amy Taubin, 1975)<br />
<br />
<div style="text-align: left;">
For <i>The</i><a href="http://www.villagevoice.com/event/in-direct-address-8878591" target="_blank"> <i>Village Voice</i></a>, I used a capsule on a handful of shorts programmed by Film-Makers Coop and Allied Productions to reflect on the role of the film critic. The shorts include:</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<ul>
<li><i>See! </i>(Amy Taubin, 1975)</li>
</ul>
<ul>
<li><i>Like </i><span style="font-size: 12.8px;">(Amy Taubin, 1975)</span></li>
</ul>
<ul>
<li><i>Duck </i><span style="font-size: 12.8px;">(Amy Taubin, 1975)</span></li>
</ul>
<ul>
<li><span style="font-size: 12.8px;"><i>In the Bag</i> (Amy Taubin, 1981)</span></li>
</ul>
<ul>
<li><i>The Cliffs, the Silk City Detour </i>(Paul Arthur, 1985)</li>
</ul>
<ul>
<li><i> Theory of the Leisure Class </i>(Paul Arthur, 1985)</li>
</ul>
<ul>
<li><i>Broken Honeymoon #3 </i>(J. Hoberman, 1978)</li>
</ul>
<div>
</div>
</div>
</td></tr>
</tbody></table>
<br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-27018551135929415102016-07-25T17:14:00.000-04:002016-07-25T17:14:01.794-04:00Say Goodbye to Good Taste with Robert Downey Sr. [On Chafed Elbows]<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4_4HJ4sDTRxocrbUcBxiR0rBw02YueI7UrF6LeB9Cw6O7u2pAYqfwO_rgQnOm9anoav0l8qXTOqQrhH_gLJav4MTcleIwuU60B2k4WLeOwBRHdWYQ6W6g3mPxnQPfKgpIQBjyj7RUeYG6/s1600/Chafed_Elbows.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4_4HJ4sDTRxocrbUcBxiR0rBw02YueI7UrF6LeB9Cw6O7u2pAYqfwO_rgQnOm9anoav0l8qXTOqQrhH_gLJav4MTcleIwuU60B2k4WLeOwBRHdWYQ6W6g3mPxnQPfKgpIQBjyj7RUeYG6/s320/Chafed_Elbows.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Chafed Elbows</i> (Robert Downey Sr., 1966)<br /><div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
For <i><a href="https://www.fandor.com/keyframe/say-goodbye-to-good-taste-with-robert-downey-sr?utm_medium=news_row&utm_source=fandor&t%5B8%5D=22" target="_blank">Fandor</a></i>, I wrote about Downey Sr.'s early work in general and <i>Chafed Elbows</i> in particular. Among other things, I highlight how Downey creates humor with still photography. </div>
</td></tr>
</tbody></table>
<br /></div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-86742450607756520992016-07-25T16:54:00.000-04:002016-07-25T17:14:40.752-04:00The Lasting Effects of a Broken Home in a Follow-Up to a 1983 Documentary [On Martin Bell and Mary Ellen Mark]<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga9av0F742MHp8NwhSef3-tqb7-kDwwPzvMjSqOQ3VtwB1NiDutRrp9ygDuOsbF3RZlDnRU2zzYFvMOjTryVrmcBZc_Fk-R4qJyP5FFQMEB2sGEhp8U1Lh5R5w1_jx2PTmjY9e_n9pVNlc/s1600/Tiny_red.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga9av0F742MHp8NwhSef3-tqb7-kDwwPzvMjSqOQ3VtwB1NiDutRrp9ygDuOsbF3RZlDnRU2zzYFvMOjTryVrmcBZc_Fk-R4qJyP5FFQMEB2sGEhp8U1Lh5R5w1_jx2PTmjY9e_n9pVNlc/s320/Tiny_red.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Streetwise </i>(Martin Bell, 1984) as seen in <i>Tiny: The Life of Erin Blackwell</i> (Martin Bell, 2016)<br />
<br />
<div style="text-align: left;">
For <i><a href="http://hyperallergic.com/307063/the-lasting-effects-of-a-broken-home-in-a-follow-up-to-a-1983-documentary/" target="_blank">Hyperallergic</a></i>, I wrote about Martin Bell's devastating documentary, <i>Streetwise, </i>as well as his follow-up film, 32 years later, <i>Tiny: The Life of Erin Blackwell</i>. </div>
</td></tr>
</tbody></table>
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Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-56248510425868398812016-07-25T11:39:00.000-04:002016-07-25T11:39:25.595-04:00The Corpse as Canvas: Jörg Buttgereit's Morbid Cinema<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU-fiIbh1mKBXxzaGsXAFc-nxNZbWQ67vxg42RO7L1nudP8zOjBPqmSXNzKdz60vwVRrc_HFB6juZgsnud7Ky3tgkAwnbCGLtRXmNyph9GsPWCttjrDquA-caye-2HJa3TFk4eOp7IWeep/s1600/vlcsnap-2016-05-15-15h30m42s535.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU-fiIbh1mKBXxzaGsXAFc-nxNZbWQ67vxg42RO7L1nudP8zOjBPqmSXNzKdz60vwVRrc_HFB6juZgsnud7Ky3tgkAwnbCGLtRXmNyph9GsPWCttjrDquA-caye-2HJa3TFk4eOp7IWeep/s320/vlcsnap-2016-05-15-15h30m42s535.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Schramm: Into the Mind of a Serial Killer</i> (Jörg Buttgereit, 1993)<br /><div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
For <i><a href="http://chiseler.org/post/146315446536/the-corpse-as-canvas-j%C3%B6rg-buttgereits-morbid" target="_blank">The Chiseler</a></i>, I wrote about one of the best underground filmmakers, Jörg Buttgereit. He's known in certain circles for <i>Nekromantik </i>(1987) and <i>Nekromantik 2</i> (1991). For my piece, however, I focus on two of his even lesser-discussed films, <i>Der Todesking</i>: <i>The Death King</i> (1990) and <i>Schramm</i>. </div>
</td></tr>
</tbody></table>
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Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-52079883464931857892016-07-25T11:15:00.000-04:002016-11-19T16:30:36.616-05:00Brooklyn Magazine Capsules (May - July 2016)<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGPx5y1hGcYOiQ13XgNY3aZRkSGMibhzzBumjWSb2ITwjFrP-zXIW4X5IQktkV255qcDQNEP47zbvkVnjcZ9tkiLkTi5iXvymr2Lbx7IIGiSZBRZ6Ic-JNsibHcHqVstjgkhOwtqlkbl4G/s1600/szindbad-1971.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGPx5y1hGcYOiQ13XgNY3aZRkSGMibhzzBumjWSb2ITwjFrP-zXIW4X5IQktkV255qcDQNEP47zbvkVnjcZ9tkiLkTi5iXvymr2Lbx7IIGiSZBRZ6Ic-JNsibHcHqVstjgkhOwtqlkbl4G/s320/szindbad-1971.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Szindbád </i>(Zoltán Huszárik, 1971)<br />
<br />
<br />
<div style="text-align: left;">
A quintet of capsules that I wrote for <i>Brooklyn Magazine</i> over the summer so far:</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<ul>
<li><a href="http://www.bkmag.com/2016/05/18/nyc-repertory-cinema-picks-may-18-24/4/" target="_blank"><i style="font-size: 12.8px;">Uncle Sam </i><span style="font-size: 12.8px;">(William Lustig, 1996)</span></a></li>
</ul>
<ul>
<li><span style="font-size: 12.8px;"><a href="http://www.bkmag.com/2016/06/08/nyc-repertory-cinema-picks-june-8-14/7/" target="_blank"><i>Szindbád </i>(Zoltán Huszárik, 1971)</a></span></li>
</ul>
<ul>
<li><span style="font-size: 12.8px;"><a href="http://www.bkmag.com/2016/06/15/nyc-repertory-cinema-picks-june-15-21/11/" target="_blank"><i>Last Night at the Alamo </i>(Eagle Pennell, 1983)</a></span></li>
</ul>
<ul>
<li><a href="http://www.bkmag.com/2016/07/06/nyc-repertory-cinema-picks-july-6-12/" target="_blank"><i>The Mermaid</i> (Stephen Chow, 2016)</a></li>
</ul>
<ul>
<li><a href="http://www.bkmag.com/2016/07/20/nyc-repertory-cinema-picks-july-20-26/7/" target="_blank"><i>Boxer </i>(Shûji Terayama, 1977)</a></li>
</ul>
</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
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</div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-10092243258224723552016-05-15T20:21:00.001-04:002016-07-25T11:46:08.116-04:00Corpulent Corporality: Abel Ferrara's Bad Politician [On Welcome to New York]<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglAxzUOZ17RvJnHOQqFn729EyRntLU63xqa-xxf9R_hNANkVcXdOkNk_qN8r8Nec7i9djC7bSwAcTjlMaMOEr0wHC8cE1D03flc2gli1a7GSVim8PzPPyZghcadbdbgKYsLy6yDv9zo9oy/s1600/96480700_o.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglAxzUOZ17RvJnHOQqFn729EyRntLU63xqa-xxf9R_hNANkVcXdOkNk_qN8r8Nec7i9djC7bSwAcTjlMaMOEr0wHC8cE1D03flc2gli1a7GSVim8PzPPyZghcadbdbgKYsLy6yDv9zo9oy/s320/96480700_o.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Welcome to New York </i>(Abel Ferrara, 2014)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakxUxg4HmFMMhbhTFCh5ietS8jP0UUwJf_QOhUyXOCmQd9WuzyQC6GyLEu2LNQvgQK7OfyWggLCvq7R2W6sIT6-dCgL714-Lb4bjzQXk8RVuGbJ-EdIfdTomltN2fpXiRax-X4a_0trTb/s1600/1024full-bad-lieutenant-screenshot.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakxUxg4HmFMMhbhTFCh5ietS8jP0UUwJf_QOhUyXOCmQd9WuzyQC6GyLEu2LNQvgQK7OfyWggLCvq7R2W6sIT6-dCgL714-Lb4bjzQXk8RVuGbJ-EdIfdTomltN2fpXiRax-X4a_0trTb/s320/1024full-bad-lieutenant-screenshot.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Bad Lieutenant</i> (Abel Ferrara, 1992)<br />
<br /></td></tr>
</tbody></table>
Over at <i><a href="http://chiseler.org/post/147947455266/corpulent-corporality-abel-ferraras-bad" target="_blank">The Chiseler</a></i>, I wrote about the different bodies on display in <i>Welcome to New York</i> (2014) and, to a lesser extent, <i>Bad Lieutenant</i> (1992). </div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com0tag:blogger.com,1999:blog-440180247851258379.post-56888042529138534152016-05-15T20:12:00.000-04:002016-05-18T11:20:24.238-04:00Pedro Costa's Growing Pains [On Colossal Youth and Horse Money]<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkK-cuZNUlo2NXbcP43NqBrMhCiQkKya2VZwcQjyM4kxU4DPzGTtpYWaq60A-VDtQFpdiOkbE43MNZaY52YZ2goapOzEfEMZBx9Vo4y6EFzlQ-RnV4ltR_f3FwH9V6vluUf662zDqLe3jM/s1600/vlcsnap-qq02_06_04qq00002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkK-cuZNUlo2NXbcP43NqBrMhCiQkKya2VZwcQjyM4kxU4DPzGTtpYWaq60A-VDtQFpdiOkbE43MNZaY52YZ2goapOzEfEMZBx9Vo4y6EFzlQ-RnV4ltR_f3FwH9V6vluUf662zDqLe3jM/s320/vlcsnap-qq02_06_04qq00002.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Colossal Youth </i>(Pedro Costa, 2006)<br />
<br /></td></tr>
</tbody></table>
For <a href="http://bit.ly/1U6FlaE" target="_blank"><i>Fandor</i></a>, I wrote about Ventura's performances in Pedro Costa's Fontaínhas films, particularly in <i>Colossal Youth</i> (2006) and <i>Horse Money </i>(2014).</div>
Tanner Tafelskihttp://www.blogger.com/profile/01511979523315593503noreply@blogger.com1