FQ Editor-in-Chief B. Ruby Rich weighs in on the latest issue of FQ, new trends in streaming, FQ‘s panel at Film Society of Lincoln Center, and what media makers, critics, and scholars might do toward a new “cinema of urgency.”
Eleven years after its launch, the Morelia International Film Festival (Festival Internacional de Cine de Morelia, FICM) is still Mexico’s most vibrant venue for both up-and-coming and established filmmakers.
FEATURES: A Special Dossier on The Act of Killing; An interview with Fatimah Tobing Rony; The Morelia Film Festival; Sundance at Thirty; and more…
“Last year’s Cannes was the best I’ve attended in twenty-seven years. This year was the worst…”
Megan Ratner reports from New York’s New Directors/New Films festival, praising The Minister, Las Acacias, and Stanley Kubrick’s debut Fear and Desire.
Brigitta B. Wagner reports from the 2012 Berlin International Film Festival, reviewing Farewell My Queen, Sister, Jaurès, Revision, Barbara, and Our Homeland.
When the Sundance Film Festival debuted in the 1980s, it entered a landscape dominated by a small corps of well-established A-list film festivals: New York, Chicago, San Francisco. A scrappy upstart, it quickly crashed the VIP room with the help of Robert Redford’s celebrity
FEATURES: A survey of Kathryn Bigelow’s cinema; an interview with Patrick Keiller; a reflection on the links between documentary and avant-garde; and the visionary television shows World on a Wire and Artemis 81
READ: Cristi Puiu Discusses Aurora, At the Edge of History, London Notebook, and Interview with Olivier Assayas
FEATURES: Interviews with Atom Egoyan and Elia Suleiman, and Straub–Huillet’s Radical Cinema
READ: The Kraken Wakes, Empire of the Father, Tears in the Neighborhood, and Jobs Well Done
by Edward Lawrenson from Film Quarterly Fall 2010, Vol. 64, No. 1 According to the speculation that always accompanies the run-up to the announcement of the Cannes Film Festival program, the 2010 edition (May 12-23) was almost certain to premiere new films by Terrence Malick and Béla Tarr. In the event, neither Malick’s The Tree of Life nor Tarr’s The Turin Horse made it (the former wasn’t finished in time; the latter, who knows?), and these high-profile absences added to a sense of disappointment with a competition line-up that generally lacked big-name auteurs. Perhaps the competition wasn’t as rich as previous years; certainly there was no Antichrist-style controversy this time and no film generated the same acclaim as The White Ribbon or A Prophet did in 2009. I had bad luck with the two competition films I managed to watch: Bertrand Tavernier’s The Princess of Montpensier is a terribly creaky chivalric historical romance; and Abbas Kiarostami’s Certified Copy, a talky drama about a couple who may or may not be pretending to be lovers, sees the …