FQ Columnist Bilal Qureshi reflects on Deepa Mehta’s film Earth at an important moment in Indian and global history. Writing from New Delhi, he had the opportunity to speak to Mehta in person about her life and work, and that discussion is woven into this column. Since making Earth almost twenty years ago, Deepa Mehta has seen her stature grow to include film festival premieres, an Oscar nomination, and a platform as one of the rare women auteurs on the international stage. She has lived in Canada since the 1970s, but her most celebrated films are not about immigrant displacement or hyphenated identity. Rather, she has always told Indian stories. From the groundbreaking story of a lesbian relationship between two housewives in suffocating arranged marriages (Fire, 1996) to the forced exile of widows in orthodox Hindu scripture (Water, 2005), she has confronted uncomfortable social realities in Indian society. Although she has been labeled an anti-national and had sets burned and cinemas attacked by the religious right for insulting traditional values, she has taken the challenges in stride and continued making films.
Interviews with Barry Jenkins, and Maren Ade
Girl Power on Screen in Girlhood, The Fits, Arrival, Into the Forest, and Certain Women
Queen Sugar in Column Debut
Cuban Retrospective at DocLisboa
RIP Juan Gabriel
Michael Boyce Gillespie interviews Barry Jenkins on his Oscar winning film Moonlight, the process of adapting Tarrell Alvin McCraney’s stage play to the screen, the filmmakers that Jenkins most admires, and what it means to be a black American filmmaker today.
Interview with Julie Dash
Latin American Cinema in Circulation
The Battle of Algiers at 50
Spike Lee’s Satire in a Time of Sorrow
Race, Gender, and Genre in Spec Ops: The Line
The Horror of Facebook Live
The fiftieth anniversary of the release of The Battle of Algiers (Gillo Pontecorvo, 1966) offers an occasion to challenge commonplaces about the film and to show that there remains much to be clarified about its character. Typically discussed in terms of its debt to Italian neorealism, The Battle of Algiers can also be related to Italian colonial cinema made during the fascist period. The film recounts the genesis of the Algerian nation, but it is at the same time a film about the end of the French empire. Meanwhile, an analysis of location in the film’s little-discussed coda shows The Battle of Algiers to be the first in a long line of banlieue cinema—that is, it is a film that presciently anticipates postcolonial conditions on the territory of France itself.
Chantal Akerman’s sound strategies are defining elements of a unique film language noted for effects that feel close to direct experience and seem to approximate the passing of real time. Drawing from a range of Akerman’s films, from Saute Ma Ville (1968) to No Home Movie (2015), five categories of sound that are of special interest in Akerman’s films are considered: walking, talking, singing (music), exploding, and silence. Local examples are analyzed to give a sense of how, within these five categories, Akerman cultivated an overall tactic of desynchron- ization – often separating layers of sound from one another within the soundtrack, and always working the soundtrack as a whole against the visual image track – to amplify effects of immediacy and temporal complexity, and to generate layers of meaning powerfully but indirectly.
A special dossier on Chantal Akerman with articles by dossier co-editor Ivone Margulies, Laura Mulvey, and an interview by B. Ruby Rich; plus the first English language translations of some of Akerman’s work, a post-mortem bibliography of writing on Akerman, a special video tribute to Akerman and the importance of sound in her films by Barbara McBane; a report from the goEAST film festival, and a rich slate of book reviews round out this “back to school” issue.
To judge by the critical enthusiasm with which the second season of Amazon Prime’s Transparent (2014–) series has been embraced, Jill Soloway not only has a big trans-affirmative hit on her hands but has succeeded in stimulating a lively conversation about queerness, trans politics, and television representation within the broader society.
Jill Soloway’s Transparent and the New Television; Ex Machina In The Garden; Rituparno Ghosh’s Bariwali; interviews with Christopher Harris, Annie Baker, and Hanna Polak; festival reports from IDFA and Sundance; and more!
I am not interested in the short take. I want the temporal dimension of things.—Eduardo Coutinho
Dossier co-editor (and FQ Contributing Editor) Natalia Brizuela takes up the much-debated theme of conversation in the films of Eduardo Coutinho, and juxtaposes the conversational to the questions of temporality and duration that occur across Coutinho’s entire body of work.