Japanese New Wave films differ from French or even American New Wave cinema because the studios started the wave. Even so, the Japanese New Wave wasn’t the first time the establishment overturned Japan’s film industry.
Capturing profound changes in biopics is best accompanied by bold changes in style.
Vidéothèque manager, Chris Damen, discovers Sogo Ishii’s Burst City.
Part of our ongoing From the Videotheque Vault series and in honor of PRIDE month, contributor Ashlee Jordan takes us back to the 1970s to recount the works of John Waters.
CYQ is a guest-blogger series where Chicago-based filmmakers, artists, curators, & cultural outlets produce idiosyncratic “lists”. This installment by Andrew Mausert-Mooney and Kera MacKenzie of ACRE TV explores the concept of liveness in film.
Part of our ongoing From the Videotheque Vault series, contributor Sean Duffy takes a look at Todd Haynes’ long out-of-print debut short film, Superstar: The Karen Carpenter Story.
Part of our ongoing From the Videotheque Vault series, Ruby Katz brings us Tomas Alfredson’s Swedish horror film, Let The Right One In (2008).
Part of our ongoing Videotheque Vault series, Isabella Miller brings us two of Turkish filmmaker Yeşim Ustaoğlu’s critiques of nationalism, Journey to the Sun (1999) & Waiting for the Clouds (2003).
Part of our ongoing From the Videotheque Vault series, Ruby Katz brings us one of Agnes Varda’s remarkable contributions to the French New Wave, combining feminism and inhibition in Cléo de 5 à 7 (1962). This elegant display of womanhood in 1960s France plays as a front-runner in gynocentric cinema, revealing the insecurity and confidence of […]
Part of our ongoing From the Vidéothèque Vault series, Mike LeSuer brings us Joachim Trier’s 2011 drama Oslo, August 31st. Documenting a single day of a recovering drug addict, the film addresses the struggles of addiction while confronting broader concerns of self-absorption through drawing parallels between physical and mental landscapes.