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home film diary books the cinemaniac… the seventh art "cinema does not cry. cinema does not comfort us. it is with us. it is us" december 3, 2017 modernism, by other means: the films of amit dutta posted by just another film buff under all posts , cinema of india | tags: a visit , aadmi ki aurat aur anya kahaniyaan , amit dutta , b. n. goswamy , chitrashala , even red can be sad , field-trip , future of cinema , gita govinda , house of paintings , indian art and cinema , ishu’s baloon , jangarh film ek , jangarh film one , jangarh singh shyam , kramasha. to be continued , lal bhi udaas ho sakta hai , man’s woman and other stories , museum of imagination , nainsukh , paramjit singh , ram kumar , ramkhind , saatvin sair , scenes from a sketchbook , sonchidi , the blue elephant , the golden bird , the invitation , the lesson , the seventh walk , two expeditions , venice reloaded | leave a comment i am excited to announce that i will be curating a retrospective of indian filmmaker amit dutta at the bombay art society in mumbai between the 8th and the 10th of december, 2017. the event is organized by matterden cfc. it is the filmmaker’s largest retrospective to date and features six (!) world premieres. here is the catalogue i wrote for the programme. do drop by for the event if you are in town. schedule at this link . january 1, 2016 favorite films of 2015 posted by just another film buff under all posts , cinema of belgium , cinema of chile , cinema of france , cinema of germany , cinema of portugal , cinema of russia , cinema of spain , cinema of switzerland , cinema of the netherlands | tags: a century of energy , albert maysles , aleksandr sokurov , alexandra gerbaulet , chantal akerman , chi-raq , chiraq , el botón de nácar , francofonia , in transit , jafar panahi , jafar panahi's taxi , john gianvito , manoel de oliveira , no home movie , patricio guzman , schicht , sergei loznitsa , shift , sobytie , spike lee , spotlight , subic (wake) , taxi , the event , the pearl button , thomas mccarthy , um século de energia | [13] comments 2015 was a fine period for me. i went to the mumbai film festival, something that i’d been meaning to do for some time now. i could also go to experimenta to meet and interact with several interesting artists and curators. i wrote a little more at this blog than i had last year and i also started a blog in french that i hope to write more for in the coming months. i watched fewer films and read fewer books than any of the preceding few years. (i had read more books and seen more movies in the first 6 months of 2014 than i did in the whole of 2015.) yet, i had a much more wholesome experience these past 12 months. for one, abstinence made movies better, providing me the necessary mental space to deal with them more meaningfully. but more importantly, my rejection of the voracious cinephilia that i was practicing helped me better integrate the films i watched with real world experience and further disabuse myself of the notion that cinephilia is a worthy activity in itself. as a result, i could give films their proper place in my life – an act of relegation that ironically made them more valuable. i think i harmonize myself better with the world around now, which i am convinced is what any ‘-philia’ worth its salt should ultimately be about. i look forward to further cutting down on films and books the coming year. the year was full of surprisingly good films. besides the following list (strictly consisting of works that world-premiered in 2015), i was really, really impressed by the masterfully-directed carol (todd haynes), the nervous energy-dynamics of standing tall (emmanuelle bercot), the perspective-bending scrapbook (michael hoolboom), the structural intelligence of interrogation (vetrimaran) and the fascinating image-making and commentary of the lobster (yorgos lanthimos). other films i liked very much are the assassin (hou hsiao-hsien), bridge of spies (steven spielberg), digging for fire (joe swanberg), masaan (neeraj ghaywan), my golden days (arnaud desplechin), my mother (nanni moretti), night without distance (lois patiño), results (andrew bujalski), sleeping giant (andrew cividino) and the three cine-essays by mark rappaport. 1. francofonia (aleksandr sokurov, france) at a time when daesh funds itself by trafficking cultural artifacts and europe announces asylum for threatened art works, sokurov’s marvelous, piercing film offers nothing less than a revisionist historiography of art itself. for francofonia, history is not the content of art but its very skin. museums flatten time, and justifiably present their contents as the highest achievements of a culture, obfuscating, in effect, their history as objects involved in power brokerage, class conflict and market manipulation. sokurov’s film flips this perspective inside out, identifying art as being frequently the currency of diplomatic power possessing the capacity to purchase peace and as being instruments in service of totalitarian collaboration. napoleon, who made art the object of his wars , perambulates in the louvre alongside lady liberty marianne, personifying the antipodal instincts of not only this emblematic institution, but also of european civilization itself. sokurov’s complex film, likewise, holds together with great equanimity and curiosity antithetical views of museums, acknowledging simultaneously their timelessness and particular historical meaning(s). francofonia poses questions about nationality, ownership and, really, the value of art and leaves your head whirling with its far-reaching implications, making sure that you will not approach art the same way again. 2. no home movie (chantal akerman, belgium) the jeu de mots in the title says it all. not only is this deeply death-marked, ozuvian film an unordinary home movie, but it is also a film about not having a home. composed of footage shot in the filmmaker’s mother’s brussels apartment and recorded video-conference sessions between the two, no home movie contrasts akerman’s professional nomadism with the perennial confinedness of her mother natalia. between chantal’s constant off-screen presence and natalia’s self-imposed captivity (within the apartment as well as the computer screen), between here and elsewhere, lies the film’s true space – a part-real, part-virtual space of filial anxiety and affection. akerman’s matrilineal counterpart to porumboiu’s the second game (2014) investigates heritage and origin as the director meditates on what she has inherited from her mother – a reflection that continuously brings akerman back to an examination of her own jewishness. a document of physical decline and decline of the physical (“ je t’embrasse ” over skype), the film crystallizes a collective jewish narrative of eternal exile through the personal history of the director’s mother, while vehemently refusing to reduce the unique being of natalia akerman the individual. akerman’s harrowing swansong is cinema’s own camera lucida . 3. taxi (jafar panahi, iran) taxi opens with a shot of downtown tehran photographed from the dashboard of a car. announcing panahi’s first cinematic outdoor excursion since his house arrest in 2011, this shot sets up the dialectics that would define the film : home/world, individual/social and freedom/captivity. through the course of taxi , the spied-upon filmmaker drives around the city in the guise of a cabbie, chauffeuring clients-actors from various strata of the society, and realizing a pre-scripted scenario with them whose urgent, didactic purpose can’t be more obvious. the iranian state has forged a private prison for panahi from the public spaces of tehran, allowing him a mobility and false freedom that’s regulated by its watchful eyes. panahi turns this power dynamic upside down, transforming the private space of the vehicle into a public space for debate, discussion, instruction and critique. watching the film, i was constantly reminded of that saying bel

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