Consisting of three critical essays and an extended interview with the filmmaker, the Editions Dis Voir publication Wong Kar-wai provides an evocative, thoughtful, and articulate introductory framework into the signature aesthetics and recurring themes of Wong’s cinema. In the overview essay Images from the Inside, Jean-Marc Lalanne equates Wong’s films to the disintegrating, abstract remnants […]
The Editions Dis Voir publication, Tsaï Ming Liang, consists of two sections: a compilation of critical essays that examine key elements of Tsai’s intensely personal cinema, Bringing in the Rain by Jean-Pierre Rehm and Corporal Interference by Olivier Joyard, and an extended interview with Tsaï Ming-liang entitled Scouting by Danièle Revière that discusses his influences, […]
The Editions Dis Voir publication, Bruno Dumont, opens with a short chapter entitled The Work of a Filmmaker that seems to characterize Dumont’s films within the context of the distinctive cinema of Robert Bresson. Through referential allusion to the informal, fragmented passages of Bresson’s Notes on the Cinematographer, Dumont’s artistic methodology, similarly captured in kernelled […]
Double Vision: My Life in Film by Andrzej Wajda provides an informal, accessible, and concise glance into the creative process of one of Poland’s most renowned filmmakers. Through a series of humorous, honest, and insightful anecdotes, Wajda presents an animated reflection of his pioneering, and largely self-taught, experience as a fledgling director during the nascent […]
Pavle Levi’s insightful and well-argued book, Disintegration in Frames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema examines the evolution of the national Yugoslav and regional post-Yugoslav cinema within its shifting political and cultural landscape – initially, in the context of individual expression under the repressive government of Josip Broz Tito, then subsequently, as […]
DEFA East German Cinema, 1946-1992 retraces the unique achievements and continued relevance of the East German national film studio, Deutsche Film-AG (DEFA), from its origins as a Soviet-assembled group of experienced postwar filmmakers called filmaktiv tasked to draft a plan to revive the German film industry, to the sale of the studio to the French […]