Francois Xavier Destors explores the city of Norilsk, its complicated history, and the lives of people who now inhabit it.
From the latest Soderbergh, to fascinating documentaries, to restored (and forgotten) classics, Film Comment Selects presents a gift of a programme, marked by an increasingly rare cohesion while offering a bounty of formal ambition
We spoke with Yeo Siew Hua about his new film A Lang Imagined, the philosophy of Zhuang Zi, the land reclamation of Singapore, migrant labourers and living in a dream.
Bi Gan’s second film is an audacious, gorgeous dream-like journey, and a great leap forward from his debut Kaili Blues.
Every year at the IFFR, Bram tries his best to seek out those voices unheard by the larger audience: The type of films I know I won’t be able to see anywhere else, for better or for worse. He discusses three short films all tackling a relationship between a man and a woman.
Frameland writers discuss their highlights from the International Film Festival Rotterdam.
A fascinating experimental documentary by the Taiwanese master of contemplative cinema, who just filmed thirteen faces in close-up.
Black Mother is built to pause and linger over, but to do so would be unthinkable because no film so begs to keep going. It is a gigantic step towards a reckoning with the black history of the world. As we watch it, it watches us right back only it doesn’t blink.
Frameland kicks off our annual coverage of the IFFR with an essay on how Radu Jude’s latest political film examines the importance of remembering the horrors of history and how public memory is manipulated by nationalistic and fascist interests.
Lisa & Kaj examine how Chytilová first feature juxtaposes the lives of two very different women to comment on the desires, ambitions and expected roles of women in 1960s Czech society.
Frameland closes out the year with our annual celebration of films that we feel deserve more praise, attention and/or viewers than they’ve received.
Right before Christmas, we take a look back at some of our favourite scenes, sequences and cinematic moments of 2018, containing absurdism, surrealism, songs, montages and many, many meaningful facial expressions from all over the world and beyond.
The editors and writers of Frameland share some of their favourite shorts of 2018, from both internationally established filmmakers and young talents to be reckoned with.
In his unofficial 1970s trilogy of Himiko, Under the Blossoming Cherry Trees & The Ballad of Orin, Masahiro Shinoda explored how the past of Japan haunts its present through a series of ghost tales.
‘What is important to me is not so much changing the language of cinema, but changing the viewpoint.’