CS72

Issue 72: Table of Contents

By Cinema Scope / September 28, 2017

Interviews *The New Workout Plan: Denis Côté’s Ta peau si lisse  by Adam Nayman Denis Côté’s Ta peau si lisse by Adam Nayman *Inner and Outer Space: Wang Bing Talks About Mrs. Fang by Daniel Kasman and Christopher Small *The Land of Terrible Legends: Narimane Mari on Le fort des fous by Jordan Cronk Add…

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Film/Art | Meet the Restacks: Dani Leventhal and Sheilah Wilson on Strangely Ordinary This Devotion

By Michael Sicinski / September 28, 2017

By Michael Sicinski Columbus, Ohio-based artists Dani Leventhal and Sheilah Wilson have embarked on an artistic relationship that is formally and emotionally adjacent to their domestic lives, a quotidian zone they share with their young daughter Rose. Both artists have established careers on their own. Neither Leventhal’s video work (written about with customary perspicacity by…

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CS72 Editors Note

By Mark Peranson / September 28, 2017

By Mark Peranson As the world continues to implode at an alarming pace, for what it’s worth we still have cinema and, at this time of year, film festivals to distract us from whatever puerile nonsense is being tweet-stormed on any given morning. A fair number of articles in Issue 72 (and others from recent…

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Ephraim Asili’s Immeasurable Equations

By Jesse Cumming / September 28, 2017

By Jesse Cumming If it is not here It must be there For somewhere and nowhere Parallels In versions of each other …. where Or even before something came to be —Sun Ra, “Parallels” (1970) Described as “A Video Film on Space and the Music of the Omniverse,” Ephraim Asili’s Points on a Space Age (2009)…

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Those You Call Mutants: The Films of Lucrecia Martel

By Blake Williams / September 28, 2017

By Blake Williams “[Cinemas of the senses] generate worlds of mutating sounds and images that often ebb and flow between the figurative and the abstract, and where the human form, at least as a unified entity, easily loses its function as the main point of reference. One way or another, the cinema of sensation is…

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Ahead of Its Reflection: Ben Russell’s Good Luck

By Phil Coldiron / September 28, 2017

By Phil Coldiron “Now I am in front of a rock. It splits. No, it is no longer split. It is as before. Again it is split in two. No, it is not split at all. It splits once more. Once more no longer split, and this goes on indefinitely. Rock intact, then split, then…

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The Land of Terrible Legends: Narimane Mari on Le fort des fous

By Jordan Cronk / September 28, 2017

By Jordan Cronk Narimane Mari’s 2013 film Bloody Beans concludes with a query: “What is worth more, to be or to obey?” These words, invoked in succession by a handful of the film’s adolescent protagonists, are taken from Antonin Artaud’s “Petit poème des poissons de la mer,” an allegorical 1926 text by the French dramatist…

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Ex Libris – The New York Public Library (Frederick Wiseman, US)

By Tom Charity / September 28, 2017

  By Tom Charity Let’s start with this: the transitions in Fred Wiseman’s new film (and there are many) have a simple and specific beauty. They double as establishing shots, each comprising a brief cluster of New York street views, usually including an intersection sign to pin us to one of the 88 branches in…

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Did You Wonder Who Fired the Gun? (Travis Wilkerson, US)

By Celluloid Liberation Front / September 28, 2017

By Celluloid Liberation Front Throughout his artistic militancy, Travis Wilkerson has rooted his praxis in a confrontational understanding of American history and, most crucially, in the reactivation of its repressed radical passages. From the margins of the film industry, Wilkerson has frontally challenged its dominant procedures and manifestations. In his pamphlet-like films, political invectives of…

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Exploded View: Bill Viola’s I Do Not Know What It Is I Am Like

By Chuck Stephens / September 28, 2017

By Chuck Stephens “Once I spent a dark afternoon in a sleazy Manhattan cafeteria, drowning (or amplifying) my sorrows in black coffees. After this grim affair, I trudged out onto the street only to be met by a wild-eyed disheveled character yelling at everyone who was crossing the street towards him. As I got close…

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Global Discoveries on DVD: Bologna Awards and Mixed & Unmixed Blessings

By Jonathan Rosenbaum / September 28, 2017

By Jonathan Rosenbaum.    I Il Cinema Ritrovato DVD Awards Jurors: Lorenzo Codelli, Alexander Horwath, Lucien Logette, Mark McElhatten, Paolo Mereghetti, and Jonathan Rosenbaum. Chaired by Paolo Mereghetti. PERSONAL CHOICES Lorenzo Codelli: Norman Foster’s Woman on the Run (1950, Flicker Alley, Blu-ray). A lost gem rescued by detective Eddie Muller’s indefatigable Film Noir Foundation. Alexander…

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Inner and Outer Space: Wang Bing Talks About Mrs. Fang

By Daniel Kasman / September 28, 2017

By Daniel Kasman & Christopher Small An old face—skin drawn tautly over jaw and cheekbone, thinning grey hair, eyeballs quivering like tadpoles—is the central image in Wang Bing’s Golden Leopard winner Mrs. Fang. The naked, sober image of this face, which belongs to Fang Xiuying, the film’s bedridden 68-year-old protagonist, is studied at length and…

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The New Workout Plan: Denis Côté’s Ta peau si lisse

By Adam Nayman / September 28, 2017

By Adam Nayman William K.L. Dickson’s Sandow (1894) is a three-part documentary study of the Prussian muscleman Friedrich Wilhelm Muller, who adopted the more flamboyant nom de plume after he dodged the draft and joined the circus. Sandow’s placement on undergraduate film studies curriculums the world over owes to its unique historical value: it was…

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DVD Bonus | Capital, City: Three Films by Lino Brocka

By Lawrence Garcia / September 28, 2017

By Lawrence Garcia On September 23, 1972, President Ferdinand Marcos plunged the Philippines into a period of martial law that would last nearly a decade. Characterized by economic stagnation and rampant human rights abuses, the years that followed—during which Marcos consolidated his brutal kleptocracy—saw massive infrastructure developments in the Cultural Center of the Philippines (CCP)…

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A Little Night Music: Twin Peaks: The Return, Part Eight

By Kate Rennebohm / September 28, 2017

By Kate Rennebohm When the eighth part of David Lynch and Mark Frost’s Twin Peaks: The Return begins, one doesn’t yet know that the episode will take the form of (visual) music. Though it starts straightforwardly enough, Part Eight soon reveals itself to be likely the most formally radical episode of American television ever made,…

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