“It Gets Dislocated”: The Evocative Cinema of Chantal Akerman
The first words spoken in No Home Movie (2015), Chantal Akerman’s close observation of her mother, make reference to the elderly Natalia Akerman’s shoulder. But these three words also tell the story of the late filmmaker’s oeuvre. “This is no home movie: not a home movie in the usual sense of the genre; instead a no-home movie, a film about dis-placement, distance, and time. It gets dislocated.”
Art News from Elsewhere
State of Vulnerability
“Tania [Bruguera] feels that all of Cuba suffers from post-traumatic stress… They don’t know their rights. They don’t know how free they could be.” A new documentary by Lynn Hershman Leeson will focus on “the aftermath of Bruguera’s experience in Cuba.”
“Unseeable” Cinema: Peter L. Galison and Robb Moss Discuss Containment
“If secrecy is unimaginable, if nuclear waste is so utterly out of our perceptual range, they vanish from our national awareness.” After their 2008 film Secrecy—on government secrets—Peter Galison and Robb Moss ventured into another realm of the “unseeable.” Here they discuss Containment, a look at hazardous waste that took them to nuclear facilities in South Carolina, New Mexico, and Fukushima, Japan.
Navigating Fact and Fiction: Chloé Zhao on Songs My Brothers Taught Me
For her debut feature, Songs My Brothers Taught Me, Chinese-born filmmaker Chloé Zhao turned her camera on the beautiful but impoverished Pine Ridge Indian Reservation in southwestern South Dakota. Anchored by two young leads (Jashaun St. John and John Reddy) who bring to life a tender brother-sister relationship, Zhao’s cast was largely culled from within Pine Ridge, blurring […] For her debut feature…
A Yard, a Tank, a Whale: The Conditions of Uri Aran’s Two Things About Suffering
An allegorical impulse has been a defining feature of Uri Aran’s art—including his video Two Things About Suffering, which presents two men pacing in an industrial ruin. “I wanted the title to sound like a lesson,” he says. “Maybe these figures are two forms of suffering. They ‘walk the yard.’ They are two fish in a tank. The space is so deep and so high they could be two men inside the belly of a whale.”
Figure and Wound: The Human Body in Shahryar Nashat’s Present Sore
Reflecting upon what the “ideal body” might look like in the 21st century, Shahryar Nashat’s Walker Moving Image Commission constructs an image of a human form whose mobility, physicality, and sensuality are comprehensively mediated by a series of objects and technologies Nashat calls “prosthetics.” Fittingly, the work is presented in a 9:16 aspect ratio—the format of most hand-held mobile devices.
Art News from Elsewhere
Goals for the Guild
The Screen Actors’ Guild has released its first official statement since its membership rule changes were announced. The aim: increasing diversity in its many forms. “This is about the diversity of our stories, of our experiences, of our perspectives.”
Moving Image Commissions #2: Marcel Broodthaers
“I am not a filmmaker,” Marcel Broodthaers once declared. “For me, film is simply an extension of language.” Previewing round two of the Walker’s Moving Image Commissions, film scholar Isla Leaver-Yap looks at the art of Uri Aran and Shahryar Nashat, whose new works “operate less out of an explicit legacy of Broodthaers and more within the spirit of his cultural influence on today’s aesthetics.”
On Acid and Death: the Psychedelic Love Story of Ram Dass and Timothy Leary
“I wanted to create an atmosphere for two old friends and psychedelic warriors to get together in a relaxed, loving setting to reminisce on the past and contemplate the eternal future, as Leary was facing the end of his life, shedding the mortal coil as his spacesuit wore out.” Gay Dillingham on Dying to Know, her film about the yin and yang of Timothy Leary and Ram Dass’s culture-changing friendship.