Issue 26 | August 2009


Oberhausen 2009

By Adam Pugh

Oberhausen is a curious place; not a destination which stirs the heart. It’s a town of stained concrete and stout old ladies smoking, of fat men with small dogs, of bocks and sausages; an outsider’s imagined Germany. It’s perhaps the staggering contrast between this backdrop (the city has the largest shopping mall in Europe, which has left the old town bereft and bloodless in favour of tree-lined avenues of Pizza Huts and Frankie & Benny’s – and it’s proud of it!) and the conceptually-driven, ambitious, world-leading film festival which emerges there each year which makes the experience of attending it even more valuable. It’s the feeling that the festival must be good, because it’s not as if any yacht trips or beachside cocktails have bribed you into believing it – and the concrete and chain-smokers aren’t without their charms, in any case.
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Apichatpong Weerasethakul

By Rob Dennis

Apichatpong Weerasethakul, published by the Austrian Film Museum and distributed in the UK by Wallflower Press, is the first book length study in English on the Thai filmmaker and gallery artist known to Western cinephiles under his affectionate pseudonym, Joe.

In Bocca al Lupo

By Rosy Rockets

Boccaccio ’70 is an Italian imagining of tomorrow’s world conceived by Cesare Zavattini and directed by four familiar faces. It might be described as a melding of Tales of the City with Tales of the Unexpected, but it was inspired by a much older work: the allegorical Tales of the Decameron...

Antonio Campos Interviewed

By Mark Stafford

A scabrous, troubling look at life in a preppy New York boarding school. Robert (Ezra Miller) an uncool and unliked student accidentally captures a fatal tragedy whilst shooting an afterschool video project. The schools panic-driven reaction is to turn the dead students into angels via memorial events...

The Hours Is Not a Film

By John Bradburn

The Hours is not a film. This is not cinema. This is theatre – filmed theatre. And this is the disease of British cinema. However well 'crafted' a film may be it is still micro performed theatre. Truffaut said that Cinema and Britain are incompatible. Why? Because we are a nation haunted by theatre.

How Very Dare He

By Owen Armstrong

Sparking some of the most vitriolic and divided debate in recent years, Lars von Trier’s Antichrist has quickly become a moral fulcrum for critics and journalists alike. While some have dutifully and respectfully considered the film’s artistic pretensions...