I’m getting the last things ready for the 10th MeCCSA PGN conference at the University of East Anglia, Norwich. I will present a paper on my approach to Slow Cinema, and hope to gather feedback which would help me to further my research. If all goes well, I can publish an extended edition of the paper later in the MeCCSA PGN journal. I will also join the editorial board of Stirling University’s PG journal Stryvling, which should be a good experience. I’m hoping for a special Slow Cinema edition for 2014, but nothing is decided or clear yet. This is merely a proposal I made a few weeks ago. We shall see what comes out of it.
As summer looms over us, things become quiet in the news. As is the case with Slow Cinema. One of the few things that have appeared recently, is the editorial by Nick James in the latest edition of Sight & Sound. He writes
People do make sweeping generalisations after Cannes. I myself have remarked online that the absence of any film I saw there that fits the ‘slow cinema’ category – except Lav Diaz’s excellent Norte, The End of History – might signal the passing of that post-Tarkovskian approach to cinema. To which anyone might reply that one goose flying south does not make a winter.
No, one goose doesn’t make a winter. I find this indeed to be a sweeping generalisation. Cannes never has been a major platform for Slow Cinema. Béla Tarr’s The Man from London premiered in Cannes in 2007. Apichatpong Weerasethakul’s Uncle Boonmee won the Golden Palm in 2010. More than ten years earlier, Tsai Ming-liang’s The Hole played in Cannes. If you look through the screening lists of Cannes, it is evident that slow films are screened here and there. Yet, we can’t speak of a major focus on Slow Cinema.
This was little different from this year’s festival, at which Lav Diaz’s new film was the only slow film shown. That this was the case does not at all indicate that Slow Cinema is in retreat. It is simply business as usual. Besides, the film critics don’t exactly help to keep SC in the public either. Two critics gave their Top Ten of the festival. Both of them ranked Norte at the top. But only one critic actually wrote something on the film. However, a mere eight sentence lot on the top film of the festival is for me poor critical and journalistic work.
That said, Norte is screening at the Karlovy Vary International Film Festival in the Czech Republic at the moment. Literally. They are one hour in 🙂