Film Editing
I never made a decision to become a film editor—or, in any case, I didn’t decide upon it at a young age and follow a single career path.
Invited to examine the human geography of lower Louisiana for the 2017 Prospect New Orleans triennial, Jeff Whetstone set off for the batture, a patch of land that separates the Mississippi from the city’s levee.
From Andrei Tarkovsky to Lucrecia Martel, Peter Hutton to Nathaniel Dorsky, entire aesthetic philosophies, genres, and approaches to filmmaking have been rooted in the elements.
A letter from Brakhage to the poet Robert Kelly describing his work on the groundbreaking film Mothlight.
Uncovering the artist’s innovations and legacies.
The filmmaker tracks the development of his research-based cinema from evocations of childhood memory to adaptations of Indian paintings and literature.
“I don’t want to continue making movies this way.”
“Immaculate breakage! Elegant mobile! Yes! Yes! That’s it exactly!”
The fine art of the romantic-comedy-thriller-mystery.
Compassion, religion, and secrets in a North Dakota boom town.
Pamela Cohn talks to Grant Gee, the celebrated filmmaker who directed films about Radiohead, Joy Division, and most recently, W.G. Sebald’s novel, The Rings of Saturn.
Rachael Rakes on Jacqueline Goss’s video art and new film The Observers.
James Benning’s Twenty Cigarettes blows smoke in the face of typical filmic portraiture. Colin Beckett explores the many dimensions of the film and its slippery subjects.
Braden King’s film HERE, opening in LA on April 27 and in San Francisco on May 11, deals with themes of exploration in life, cinema, and map-making. Alex Zafiris spoke to the filmmaker on his return from Sundance 2011.
I agree with the French. “Tacita Dean. Formidable!” She is an overpowering force and I cower before her in admiration.
Lucy Raven compares filmmaker Jem Cohen’s Chain—and the excerpted cut Chain Times Three shown at MoMA—to Benjamin’s Arcades Project, as a cataloguing of an urban cultural moment.
Director Mike Figgis composed his film, Leaving Las Vegas, like a jazz score. It soars and crashes, and soars again.
“Well, I observe humankind. I observe man and woman in struggle. And that’s why I feel like an anthropologist.”