Archive

Jeanette Samyn

13 March 2012

Late style, on the other hand, refuses death and refuses the world outside art. Chabrol, Rivette, and Rohmer might be thought of as timely in this sense. But there is a filmmaker equally timely, old, and French Quandt leaves out: Agnès Varda. More…

16 May 2011

“Feedback!” explained our friend, a medical student and ex-New Yorker. “San Francisco is all about feedback. The people here don’t complain, really, they just fill you in on how things are going.” Our friend kept talking about “feedback sandwiches.” But on the BART, in the café, at City Lights, we thought we were the only people talking, let alone complaining. More…

24 February 2011

That night we dined with Costa and the critics. It was not a banquet of equals, so we were left to observe. After some chips and salsa, the conversation gravitated to films-of-the-year, and someone lazily broached the name Terrence Malick. Costa grinned, then leaned over to ask us: “Do you like this Tree of Life?” More…

23 August 2010

Pedro Costa’s films are meant to be letters. For Costa, letters act as metaphors, ways of addressing the possibilities of cinema. In a speech at the Tokyo Film School in 2004, he told his audience that making a good film is like writing a love letter in a bank: “Few people are going to see this love letter in a bank, and still fewer are going to write a love letter in a bank. . . . Your work is to continue trying to write love letters, and not checks.” More…