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  • A Return

    A Return

    James Edmonds simply interweaves two 16mm reels, one shot in Berlin when he was working with Mr. Beavers on the restoration of Markopoulos' Eniaios, and the other was shot while James was returning to his village in the south of England. The coalescence of these dainty geographies and homogeneous atmospheres in A RETURN has ultimately translated into six minutes of mellifluous ciné-poetry.

  • Île d'Ouessant

    Île d'Ouessant

    In ÎLE D'OUESSANT, David Dudouit's colleagues at L'Abominable have chosen a formal but ingenious method of illustrating how light, colour and texture alter human percept of nature and its elements. We recept what we percept. There's so little to speak about the film, while there's a lot to absorb from it that cannot be transcribed into words. I was enraptured by every bit of it.

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  • Burning

    Burning


    "I wanted to disappear like the sunset. Dying is too scary, and I wish I could disappear like I never existed."

    Writer-Director Lee Chang Dong returns after an eight-year hiatus with the beguiling Korean slow burner BEONING aka BURNING. The most memorable scene in the film is the cathartic countryside dance to jazz music in the sunset, after smoking marijuana. Sounds very exotic right? The latter half of the film is filled with hazy visuals, setting up a mysterious mood…

  • Utøya: July 22

    Utøya: July 22

    Erik Poppe's UTØYA 22 JULI aka U - JULY 22 is an incredibly intense re-enactment of the Utøya island massacre. The entire tragedy is captured in a 72 minute handheld real-time single take by DP Martin Otterbeck, which is exactly the duration of the 2011 Norwegian attacks. His shaky camerawork is very absorbing. The sound design is multidimensional. Each gunshot literally amps up the trauma. One of the most immersive movie experiences in recent times, since Chris Nolan's Dunkirk.