Andrea Picard

Sebastian Brameshuber on Movements of a Nearby Mountain

By Andrea Picard / December 9, 2019

By Andréa Picard Movements of a Nearby Mountain screens at TIFF Bell Lightbox on Thursday, December 12 as part of MDFF Selects: Presented by Cinema Scope and TIFF. Winner of this year’s Grand Prix at Cinéma du Réel as well as a clutch of other international prizes, the third feature by Austrian filmmaker Sebastian Brameshuber…

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Against Oblivion: Richard Billingham’s RAY & LIZ and Yervant Gianikian & Angela Ricci Lucchi’s I diari di Angela—Noi due cineasti

By Andrea Picard / December 21, 2018

By Andréa Picard  “Right now a moment is fleeting by!”—Paul Cézanne “Memory demands an image.”—Bertrand Russell “I don’t make movies about my life. I live my life like a movie.”—Lana Del Rey How often has a film or artwork been praised for capturing or visually demonstrating the ineffable? But what about the indelible, that which…

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The Image Book (Jean-Luc Godard, Switzerland/France) — Masters

By Andrea Picard / September 7, 2018

By Andréa Picard Published in Cinema Scope 75 (Summer 2018)   “There is a real contrast between the violence of the act of representation and the internal calm of representation itself.”—Le livre d’image Last summer, the Institut Lumière in Lyon run by Cannes chief Thierry Frémaux announced a full Godard retrospective for its annual restoration…

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The Day After (Hong Sangsoo, South Korea) — Masters

By Andrea Picard / September 3, 2017

By Andréa Picard Published in Cinema Scope 71 (Summer 2017) With its wonderful Whitman-inspired title, On the Beach at Night Alone gave us one of the year’s most indelible images, so crushing, mournful, and beautiful in its abandon: Kim Minhee’s character Younghee lying forlorn in the sand on a cold beach. The solemn distress and…

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The Day After / Claire’s Camera (Hong Sangsoo, South Korea)

By Andrea Picard / June 22, 2017

By Andréa Picard With its wonderful Whitman-inspired title, On the Beach at Night Alone gave us one of the year’s most indelible images, so crushing, mournful, and beautiful in its abandon: Kim Minhee’s character Younghee lying forlorn in the sand on a cold beach. The solemn distress and physical destitution occasioned by Liebeskummer was palpable…

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Film/Art | News from Anywhere, Nowhere, Home: Notes on the BNLMTL

By Andrea Picard / December 19, 2016

“Le Grand Balcon” is the name of the brothel in Jean Genet’s 1957 play Le Balcon, where it serves as a “house of illusions” (as one of the characters calls it) rather than simply a house of pleasure or tolerance.

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Singularity (Albert Serra, Spain) — Wavelengths

By Andrea Picard / September 8, 2016

From Cinema Scope #63 (Summer 2015) By Andréa Picard First presented in the 2015 Venice Biennale at the off-site collateral event “Catalonia in Venice,” Albert Serra’s Singularity, a sumptuous, monumental film projected on five screens, reveals a seductive, barren, yet baroque beauty over its consistently engaging three-hour duration. This is a feat of prolonged attention-grabbing…

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Sehnsucht: Ruth Beckermann on The Dreamed Ones

By Andrea Picard / September 4, 2016

By Andréa Picard “This longing, these sighs from soft pillows, I am happy, endlessly happy, to be so filled with this thought. Maybe you will come, maybe you will walk through the door and take from me. I am so ready to give.”—Ingeborg Bachmann, Letters to Felician (July 6, 1945) Cinema is synonymous with longing.…

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Film/Art – Un-Canny: Bruno Dumont’s Ma Loute and the Creatures of Cannes

By Andrea Picard / June 27, 2016

By Andréa Picard “I don’t really care so much what people say about me because it usually is a reflection of who they are. For example, if people wish I would sound like I used to sound, then it says more about them than it does me.”—Prince It’s a hit! Released in a whopping 300…

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A Film/Art Hypothesis: Philippe Parreno at HangarBicocca

By Andrea Picard / March 21, 2016

By Andréa Picard L’année dernière à Marienbad (1961) is an enduring, mesmerizing modernist masterpiece. Perhaps the most powerful aspect of this Resnais/Robbe-Grillet collaboration—apart from its dapper design (including trimmed topiary) and Delphine Seyrig’s divinely breathy intonations and Chanel plumage—is its constant creation of spatial and temporal ambiguity, its perverse usurping of causal relationships between events…

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Film/Art | We Can’t Go Home Again: Chantal Akerman’s No Home Movie

By Andrea Picard / September 22, 2015

By Andréa Picard “It is in a house that one is alone. Not outside of it, but inside. In the park there are birds, cats. Maybe even a squirrel, a ferret. We are not alone in a park. But in the house, we are so alone that we are sometimes lost.”—Marguerite Duras, Écrire Writing about…

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TIFF 2015 | Cinema Scope 64 Preview | No Home Movie (Chantal Akerman, Belgium)—Wavelengths

By Andrea Picard / September 2, 2015

Film/Art | We Can’t Go Home Again: Chantal Akerman’s No Home Movie By Andréa Picard Originally published in Cinema Scope 64 (Fall 2015). “It is in a house that one is alone. Not outside of it, but inside. In the park there are birds, cats. Maybe even a squirrel, a ferret. We are not alone…

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Film/Art | Oh, Broodthaers, Where Art Thou? 

By Andrea Picard / June 23, 2015

By Andréa Picard “Fiction captures the truth, and at the same time, what it conceals.”—Marcel Broodthaers “All the World’s Futures” is a pretty grim supposition, if not a dismal, somewhat dizzying “iterative choreography,” to quote this year’s Venice Biennale curator Okwui Enwezor. Those futures are in fact meant to be a barometer of the present,…

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Film/Art | Carlos Amorales, Roberto Bolaño, and Amorality Within the Avant-Garde

By Andrea Picard / December 18, 2014

  By Andréa Picard “We dreamed of utopia and we woke up screaming.”—Roberto Bolaño, First Infrarealist Manifesto Last year, Vogue Paris published an issue devoted to the “avant-garde,” seemingly another instance of mainstream popular culture co-opting the language and ethos of radical art and politics. At a certain juncture, this would not have seemed so…

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Film/Art | Harun Farocki’s Inextinguishable Fire

By Andrea Picard / September 16, 2014

By Andréa Picard “The image always occurs on the border between two force fields; its purpose is to testify to a certain alterity, and although the core is always there, something is always missing. The image is always both more and less than itself.”—Serge Daney, Libération (reprinted in Devant la recrudescence des vols de sacs…

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Film/Art | Provenance: The Artist (Amie Siegel)

By Andrea Picard / March 20, 2014

By Andréa Picard When Heidegger assigned the virtue of truth to works of art, he did so while heeding to his own tastes as any aesthete would. The origin of a work of art, he opined, is where said authenticity lies. Determining provenance is thus imperative to understanding the essence of an artwork, which significantly…

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Film/Art | In the Realm of the Senses: Mati Diop on Mille soleils

By Andrea Picard / December 13, 2013

By Andréa Picard “This fever is a nightly invader that strikes the patient during deep sleep. He jumps off his bed and runs to the bridge. There, he believes seeing beyond the waves, trees, forests, flowered meadows. His joy erupts in thousand exclamations. He experiences the most burning desire to flow into the ocean.”—Atlantiques “You…

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Film/Art | Camille Henrot: A Hunter-Gatherer During a Time of Collective “Grosse Fatigue”

By Andrea Picard / August 28, 2013

By Andréa Picard “Ideas are a complete system within us, resembling a natural kingdom, a sort of flora, of which the iconography will one day be outlined by some man who will perhaps be accounted a madman.”—Honoré de Balzac, Louis Lambert, 1832 “How, in A.D. 1988, is it that human ingenuity has been unable, firstly…

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Film/Art | Out of Bounds: The Formal Trajectories of Lonnie van Brummelen & Siebren de Haan

By Andrea Picard / March 21, 2013

  By Andréa Picard “You have to rack your brain to know how to film a location…You have to walk around it for a while if you want to find, to use a military term, a strategic lookout. There are not many. When you explore this question often enough, you see that, most of the…

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Film/Art | In the Age of Contamination: Gabriel Abrantes’ Tall Tales and Tainted Love

By Andrea Picard / December 16, 2012

By Andréa Picard “Language just, I don’t know, confuses things. Crazy.”—Cookie, in The History of Mutual Respect Disarmingly direct, it’s a gaze that will forever symbolize the tantalizing transition into modernity, as if a single woman harboured the power to dismantle centuries’ worth of objectification, prescribed Victorian codes of conduct, and the dominion of man.…

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Film/Art | Beware of the Jollibee: A Correspondence with Lav Diaz

By Andrea Picard / June 24, 2012

By Andréa Picard Twenty years ago, when under the rule of a sole dictator, we knew well whose wrists deserved to feel the sharp ends of our knives. Today, in a society so quick to judge and pass blame, the only flesh that remains to be examined is our own. Diaz’s camera, steadfast, unwavering, reveals…

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Liu Jiayin

By Andrea Picard / April 4, 2012

By Andréa Picard In praise of pockets—perhaps this is the essence of Liu Jiayin’s cinema to date. Like the handbags and dumplings whose real-time creation in her quietly astonishing diptych (soon to be a trilogy) of Oxhide (2005) and Oxhide II (2009) provide the films with their structuring principles, Liu’s wit, originality, and ingenious deployment…

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Film/Art | Disappearances After the Revolution: On Alberto Grifi and Massimo Sarchielli’s Anna

By Andrea Picard / April 4, 2012

By Andréa Picard “As a filmmaker, I think we have to venture into the no man’s land that lies between reality and imagination, between documentation and fiction…Filming the impossible is what’s best in life.”—Joris Ivens “New languages aren’t invented in the editing phase, it is life undergoing a transformation that demands new languages…”—Alberto Grifi  …

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Film/Art | Low Life Zombies

By Andrea Picard / September 29, 2011

By Andréa Picard “Two types of film: those that employ the resources of the theatre (actors, directors, etc…) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create.” —Robert Bresson, Notes sur le Cinématographe “Art is like a fire; it is born out of…

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Film/Art | In Das Auge of the Beholder: Thomas Hirschhorn and Bruno Dumont

By Andrea Picard / June 29, 2011

By Andréa Picard “The intellect may be compared to a carver, but it has the peculiarity of imagining that the chicken always was the separate pieces into which the carving-knife divides it.”—Bertrand Russell In Toronto in early March to put the final touches on his transplanted 2008 Secession sensation Das Auge (The Eye) at the…

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Film/Art | There’s No Place Like Home: Absalon, Aitá, and Ocaso

By Andrea Picard / March 12, 2011

By Andréa Picard “These homes will be a means of resistance to a society that keeps me from becoming what I must become.”—Absalon “In Basque mythology the house or etxe is a sacred area where the living and the dead meet on equal terms.”— José Maria De Orbe The Israeli-born, Paris-dwelling sculptor Absalon chiselled his…

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Columns | Film/Art

By Andrea Picard / December 17, 2010

In the enchanted land of pewter trees, Rohmer’s line describing a semi-circle By Andréa Picard “What gives truth to a Cézanne is not the pseudo-likeness to the model, it’s the trace it carries within it of the process by which the painter perceives it.” “Like painting, sculpture, architecture, and the ballet, the cinema is an…

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Spotlight | Film Socialisme (Jean-Luc Godard, Switzerland/France)

By Andrea Picard / June 18, 2010

By Andréa Picard “The triumph of the demagogies is fleeting. Ruins are eternal.” —Charles Péguy “What appears before us is an impossible story; we are confronting a sort of zero.”—Film Socialisme “It takes strength and courage in order to think.”—Film Socialisme LIBÉRER FÉDÉRER Those words, in big, blocky white letters, lingered with me three weeks…

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Columns | Film Art | Orphans and Maniacs: Chantal Akerman’s Maniac Summer

By Andrea Picard / March 17, 2010

By Andréa Picard Whether ironic, playful or slightly self-deprecating, the title of Chantal Akerman’s Maniac Summer, recently exhibited at the Marion Goodman gallery in Paris is apt, bemusing, and applicable to many of her other works—at least the maniac part. Pathology is Akerman’s specialty, as she consistently delves into a cinema of solipsism, not unlike…

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The Decade in Review | Andréa Picard

By Andrea Picard / March 16, 2010

A decade of remembering (or, Avant que j’oublie) Literally. Or the fear of forgetting. From Godard’s elegiac Éloge de l’amour (an anguished apologia for the ramshackle installation to come—another of the decade’s most memorable moments strewn amid the ruins of abandoned thought), perhaps the most poignant and prescient statement of the ‘00s (one plus one), not…

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Columns | Film/Art – In Comparison: HF | RG

By Andrea Picard / December 16, 2009

By Andréa Picard This column is so late, it’s as good as expired. And alas, it’s not even the article it once was or was meant to be. Blame it on the archive (or lack thereof) and the machine (ditto), definitely on the so-called nonverbal and a rather limp attempt at montage. In late August,…

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Columns | FILM/ART: Reading Between the Lines with Bruce McClure

By Andrea Picard / September 3, 2009

By Andréa Picard “I think an artist is always working with limits, but these limits are extended and discovered. There’s an art of discovering new limits.”—Robert Smithson “After all, wreckage is often more interesting than structure.”—Bruce McClure Bruce McClure is an artist both increasingly known and unknown. His film performances have been featured (and cultishly…

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Columns | FILM/ART: This Time Tomorrow: The Zanzibar Films

By Andrea Picard / September 1, 2009

By Andréa Picard “One of the notable events in the art-world in the last few years is that Mannerism has again become fashionable…It is, in a phrase, the stylish style.”—John Sherman, 1965 Even Mannerism, the 16th century visual, literary, and musical style—that ne plus ultra of all bêtes noires—has bobbed in and out of vogue.…

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Columns | FILM/ART Featuring Michel Auder

By Andrea Picard / September 1, 2009

By Andréa Picard “Usually, you eat, you get laid, you’re worried about money, you have money, you’re happy, you’re sad, you cry, you have more sex, if you’re lucky, and then, you know, there’s nothing left in life, it’s just what it is.”—Michel Auder in The Feature Watching The Feature, vidéaste Michel Auder’s return to…

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Columns | FILM/ART A Paradox: Remembering Guillaume Depardieu

By Andrea Picard / August 29, 2009

By Andréa Picard “Paradoxe.” You must call it “Paradoxe,” he said in French, his famously crooked smile as wide as his eyes were squinty and full of play. Incredibly, I sat directly opposite Guillaume Depardieu exactly one year ago, in what was to be my first and as of yet only mock interview—a staggering 45…

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