Chronicle of Space — Akshay Indikar (2020)
Heavy rain. Thunder. Night. A dark, threatening night, which foreshadows what is to come. Yes, I’m back once more, back on the vast subcontinent that...
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Tag: observation
A rifle and a bag — Arya Rothe, Cristina Hanes & Isabella Rinaldi (2020)
September 22, 2021
by Nadin Mai
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After an excursion to the Tamil region of India thanks to P.S. Vinothraj’s Pebbles (2021), I travelled further north this time to explore the life...
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A river runs, turns, erases, replaces – Shengze Zhu (2021)
August 26, 2021
by Nadin Mai
2 Comments
It’s been 18 months now that we are living with a virus that put our world upside down. Even though we are aware that we’re...
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Fate – Fred Kelemen (1994)
August 25, 2020
by Nadin Mai
2 Comments
I was six years old. I just entered school, I was proud. It was an important day in an important year for me. I still...
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Days – Tsai Ming-liang (2020)
August 11, 2020
by Nadin Mai
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When Kang, played by Lee Kang-sheng, crosses a busy road, holding his head with his left hand, his neck being stabilised by a brace, there...
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Birha – Ekta Mittal (2018)
July 20, 2020
by Nadin Mai
1 Comment
I have fallen in love. I have fallen in love with a film, with a filmmaker. I have fallen in love with a hypnotising atmosphere,...
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Father and Sons – Wang Bing (2014)
June 15, 2020
by Nadin Mai
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Over several years, Wang Bing has built up a library of films about migration. We tend to understand migration as a movement of people. It...
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Earth – Nikolaus Geyrhalter (2019)
April 9, 2020
by Nadin Mai
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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...
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Inland Sea – Kazuhiro Soda (2018)
February 16, 2020
by Nadin Mai
1 Comment
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...
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Spoon – Laila Pakalnina (2019)
January 23, 2020
by Nadin Mai
1 Comment
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...
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