Wednesday, September 3, 2014

TIFF 2014 Itinerary

Very excited to be attending TIFF for the first time this year. Here's my tentative itinerary for those interested. No Press & Industry access, so these are all public screening. Things can always change...

I'll be writing on Wavelengths elsewhere, but will try to post capsule reviews of other features here. Be on the lookout!

Friday Sep 5

12:00 – In Comparison/Farocki 

3:00 - 6:00 – Winter Sleep -  RUSH

6:30 - 7:35 – Wavelengths #1

9:15 - 11:00 – Two Shots Fired 

Saturday Sep 6

9:00-11:17 – Tale of Princess Kaguya 

11:30 - 1:20 – Phoenix 


7:45 - 9:00 – Wavelengths #2 (Jackman)


Sunday Sept 7

11:00 AM – Manglehorn 

2:00 - 3:12 – Songs from the North 

4:00 - 5:20 – Obra (Lightbox)

7:15 - 8:30 – Wavelengths #3 

10:00 – Heaven Knows What 

Monday Sept 8


2:00 - 4:00 – Time Out Of Mind 

4:45 - 5:44 – Pimenta/de Oliveira/Abrantes

7:45 – 9:05 – Wavelengths #4

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Tuesday, January 14, 2014

Out 1 Film Journal's Top 13 Films of 2013

by James Hansen 

While not quite on purpose, this list reflects the desire for unique images, assemblages, and experiences outside the confines of traditional narrative, character, and story; further, it illustrates a wide range of artists who expand, complicate, and question this inclination across fiction and documentary, narrative and experimental. These films epitomize a consistently paradoxical, often historical negotiation with images, the process of their construction, and their external (and cultural) mobility. Operating through what Blanchot calls "the happy chance of unconcern," these artists have made solitary, striking, slippery, wonderful works that I won't soon forget.

2. Computer Chess 
(Andrew Bujalski)

 3. Let Us Persevere In What We Have Resolved Before We Forget 
(Ben Russell)

4. Spring Breakers 
(Harmony Korine)

 5. Life Is An Opinion (Fire A Fact) 
(Karen Yasinsky)

 6. Post Tenebras Lux 
(Carlos Reygadas)

 7. Let Your Light Shine 
(Jodie Mack)

 8. Frances Ha 
(Noah Baumbach)

9. Beyond The Hills 
(Cristian Mungiu)

 10. The Lords of Salem 
(Rob Zombie)

 12. Viola 
(Matías Piñeiro)


 Hard To Be A God
(Aleksei German) 

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Tuesday, November 26, 2013

Exhausting Tomorrow: Michael Robinson's "The Dark, Krystle" (2013)

INEZ: But, you crazy creature, what do you think you're doing? You know quite well I'm dead.
INEZ: Dead! Dead! Dead! Knives, poison, ropes--useless. It has happened already, do you understand? Once and for all. So here we are, forever.
ESTELLE: Forever. My God, how funny! Forever.
GARCIN: For ever, and ever, and ever.
(A long silence.)
GARCIN: Well, well, let's get on with it...

by James Hansen

Over the image of a fire burning blue, we hear the faint, exhausted whisper of a middle-aged woman. “There was a fire in the cabin. I tried to leave, but the door was locked. I died in that fire...” The woman sits in a hospital bed. Her head slightly tilted, she gazes into the distance with a look of despair. “I don’t know who I am.” These sounds and images serve as the prelude of Michael Robinson’s new video The Dark, Krystle. They establish the work’s central premise, that of being trapped in a place with no hope of escape. And yet, the narrator doesn’t die, despite stating her condition as being dead, as no longer knowing herself. She is alive, born new even, but lacks an awareness of herself, of her life, of her history.

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Tuesday, October 1, 2013

Living Variables: Stephanie Barber's "Daredevils" (2013) and David Gatten's "The Extravagant Shadows" (2012)

by James Hansen

On Sunday, as I wandered through David Gatten’s monumental feature The Extravagant Shadows for the second time, my mind kept returning, quite unexpectedly, to Stephanie Barber’s Daredevils, a new feature-length video premiering this Thursday at the New York Film Festival’s Views from the Avant-Garde sidebar.        

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Thursday, September 26, 2013

Museum Hours (Jem Cohen, 2013)

by James Hansen

A tender, intimate portrait of care and friendship, life and art, Jem Cohen’s Museum Hours may be best observed in the position of a wanderer. Anne (Mary Margaret O’Hara) makes an unexpected trip to Vienna to care for a dying family member. In Vienna, Johann (Bobby Summer), a museum guard, befriends Anna. He becomes her guide and they travel around a number of unique spaces – the hospital, the museum, and the city at large. Cohen’s fine directorial eye shows Anne and Johann as almost floating around the city. The beautifully rendered scenes softly flow from one to the next, as if they are leaves blowing in the wind or billiard balls gliding across a table.

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