“Langston Hughes’ words sent chills down my spine. It gave me the wherewithal to truly understand that fascism is not at all a foreign term, nor is it strictly related to Europe or even novel in twenty-first century American life.”
“In At Land, and in Meshes also, domestic interiors signify the world of human society in which the protagonist is contained and trapped, but here there is also an exterior world of landscape and seashore, in which she becomes empowered and where she acts with confidence and certainty.”
“From descriptions of individual feminine experience floating free of both social context and narrative hierarchy, to descriptions of individual feminine experience placed in radical juxtaposition against historical events, to explicitly feminist speculations about feminine experience”.
“Spirits return because something in the social fabric was left unfinished—an unacknowledged injustice, a normalized cruelty, a promise broken within a rigid order that leaves little room for repair.”
“Surrounded by people who were almost entirely unrepresented in film, Davis found her calling. She returned to the US galvanised — she would dedicate her career to telling their stories.”
“Cinema becomes an unofficial archive—not of triumph, but of evidence. It records not what we achieved, but what we allowed to disappear.”
“The greatest films, I have always believed, are empathy machines. They allow us to see the world through eyes that are not our own.” A beautiful love letter to cinema by Amir Zadnemat
“Frequently claimed by critics as the best Venezuelan film ever made, El pez que fuma, (1977) was produced in the midst of the Oil Boom era and has since become a potent metaphor for the decadence at the height of Venezuela’s economic splendor.”
Gideon Leek rewatches King Vidor’s classic, in which a young man with big dreams moves to New York City and becomes an identical cog who learns to love the machine of modernity.
“We are alone facing our historical consciousness — that makes us fully responsible, and so the reason for alienation has disappeared. Our work is creative, we live to create — to create something that will exist beyond time, beyond any possible existential anguish, like art. Is that clear?” Thoughts on the work of Cuban filmmaker Sara Gómez.
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