- Slugfest: Bruce McClure at the Rotterdam International Film Festival
This is autonomy incarnate: projector, performer, meaning-maker and destroyer. There are no copies of his films because he hasn’t made any.
—Notebook, Jan 30
- Pregnant Airs and History's Heirs
The final moments in 'Amour Fou' contain the seeds of a nascent revolution to come. History is hers now.
—Keyframe, Mar 13
- Strife and the city: urban space and the essay film
How we aesthetically and conceptually frame territories conditions the way in which we think and talk about them, approach and dissect them, engage and respond to them.
—Sight & Sound, Mar 28
- Inbound Access, Outbound Escapes
At regular intervals atop the walls enclosing the old town, disused cannon aim outward at the bland tower blocks of a modernity that is less approaching than already here.
—Jigsaw Lounge, Apr 20
- Gestures: Bertrand Tavernier and Philippe Noiret
Noiret is like that unmarried (or perhaps widowed) uncle, against whom young mischievous nephews team and pester into performing some card tricks.
—Keyframe, May 18
- Fascism, Flames and Pharaohs: A History of Cinecittà Film Studios
Hollywood’s eventual attraction to Cinecittà is ironic given that it was Western Allies who bombed the studios during World War II.
—Grolsch, Jun 9
- On Walter Hill, Renegade Poet of Action Cinema
Man walks into a bar, gets into a brawl, wins and walks out. The end.
—Thompson on Hollywood, Jun 30
- Weighing Up the Pros and Cons of the New Amy Winehouse Documentary
Kapadia's film at times mistakes a chronological presentation of events as a comprehensive explanation of them.
—VICE, Jul 1
- Sergei Loznitsa: Earth, Sky and Steel
In drawing attention to his more stylized flourishes, Loznitsa invites us to question and/or engage with his films as constructs, so that they themselves might double as comments on the ethics and strategies of nonfiction as a whole.
—Reverse Shot, Aug 3
- Gestures: Abel Ferrara and Pier Paolo Pasolini
Asti’s eyes communicate a hammer-blow that is as bodily as it is emotional, lending the film’s closing moments a real wallop.
—Keyframe, Aug 13
- How the Caribbean Film Industry Is Surviving the Invasion of Hollywood
The media has portrayed Laventille to be a place that if you enter, you will be robbed or killed.
—Indiewire, Oct 20
- Dead Slow Ahead
Herce focuses, at least for the spellbinding first half-hour, on the sound textures and rhythms at work within this languorous steel kraken, illuminating the musicality of its throbbing, horror-like pulse.
—Filmuforia, Nov 11
2015: The Year In Words
A selection of twelve essays and articles published in 2015...
Posted Thursday, December 24, 2015