Tarr Béla, I used to be a filmmaker – Jean-Marc Lamoure (2013)
Those who have been with me over the years know how much I admire the work of Béla Tarr. It is not only the films that have impressed me, one after the other, allowing me…
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Solitude at the end of the world – Carlos Casas (2006)
Perhaps, there is no better film right at this very moment than Carlos Casas’ Solitude at the end of the world. It’s been ten weeks that I haven’t met people. Ten weeks of confinement at…
Earth – Nikolaus Geyrhalter (2019)
Towards the end of the last decade, a new term made its way into public discourse: the anthropocene. Although this isn’t entirely true. The term has been in use for quite some time, but it…
About Endlessness – Roy Andersson (2019)
I’m unsure as to whether I could name a single living director, who speaks to me in a way Roy Andersson does at the moment. His films are absurd, they are morbid at times, funny…
The Art(s) of Slow Cinema Issue 02
Ca y est, it’s time! The new issue of The Art(s) of Slow Cinema magazine is finally available! It’s taken longer than I had thought. I had issues with my design software, which no longer…
Knife in the Clear Water – Xuebo Wang (2016)
In 2011, Béla Tarr presented his last feature film, The Turin Horse. The film, in which he had stripped everything bare, contains a lot of iconic images. There is the daughter sitting in front of…
A Love Unknown – John Clang (2020)
There are films that you watch. And there are films that you feel. Both forms have been part of my life for quite some time now. Some films go deeper than others, but that doesn’t…
Inland Sea – Kazuhiro Soda (2018)
How can we understand slow films? What do they show, what do they tell us? At some point during my (previously academic) research, I came to the conclusion that every slow film deals with death….
Spoon – Laila Pakalnina (2019)
Before I say a single word about Laila Pakalnina’s new film Spoon (2019), I need to thank Elina Reitere and the Latvian Film Institute, who allow me to discover the filmography of Pakalnina. It is…
Self-Portrait: Sphinx at 47km – Zhang Mengqi (2017)
Could it be that China currently has the single most promising output of contemporary Slow Cinema? I could, of course, be wrong. And yet it feels as though there are more and more slow films…