Sneak Peek at The Art(s) of Slow Cinema journal (Issue 1)

It’s slowly coming together, the first print issue of The Art(s) of Slow Cinema. The design is ready (for now), and I have put work on the journal aside for now to allow me some breathing space. If you keep looking at the same thing all the time, you no longer see whether or not something looks good. I want to return to the draft with a fresh pair of eyes by the end of the week and start the final round of proof-reading. This means that we’re getting closer to the day when you can (finally!) pre-order the magazine. And why not give you a sneak peek at what is to come? Let me introduce…. *drumroll*

The wonderful Sebastian Eklund from Sweden, one of the most talented artists I know, has adapted the poster for his new film¬†The Tide Brings the Birds Underwater (streaming for free on tao films) in order for it to fit the cover of the journal. It’s beautiful and expresses everything that Slow Cinema is for me. Obscurity, dreams, mind images, imagination…I cannot thank Sebastian enough for this. I hope it will look just as good in print! ūüôā

The journal contains seven articles, responses, and/or creative works. Daniel Fawcett and Clara Pais from The Underground Film Studio contributed their engaging 21 Reflections on Creativity and Cinema in the 21st Century, which takes a look at the meaning of both at a time when digital images are omnipresent. A taster? Here you go: 

The daily work of the artist is to develop a craft. Seek to have the widest possible creative tools available in order to best serve the images that need to materialise through you. Work on cinema and let cinema work on you; artistry and craft are ways of being.

I’m particularly happy that filmmaker and writer Maximilian Le Cain has agreed to write a response to Daniel’s and Clara’s propositions. All three belong to an active group of experimental filmmakers whose output is simply fascinating.¬†¬†

Watching is as personal and creative as making. This understanding rips the foundations out from under the traditional hierarchical power relations implicit in the producer/consumer dynamic. The question they pose of ‚Äúhow can a film fail when its only goal is to come into existence?‚ÄĚ neatly emasculates over a century of puffing and panting efforts to overawe audiences with bigger, better, louder, more Olympian products.¬†

And we continue with filmmakers speaking about their work and the meaning of cinema, time, and duration. There is Aleksandra Niemczyk, whose breathtaking film Centaur runs on tao films at the moment. Her Thoughts on Centaur are a view behind-the-scenes of making a film that is both personal, and yet universal. A visual beauty which impressed me the first time I saw it. 

In a photo, stillness is pregnant with movement. The photographer brings the stillness, and the viewer must project the movement. In a film, stillness frames a scene, while movement is giving information, telling, bringing emotion. Stillness is observing and giving time to see and breathe the point of the frame. 

What is the link between film and boredom? Why is it that some people get bored by films and others do not? Sebastian Cordes, director of A Place Called Lloyd (available on tao films), investigates the subject of boredom in cinema, merging his experiences as a filmmaker on set of Lloyd and theoretical reading. 

 To know nothing is, precisely, the child’s position. The poet, the philosophers position. This was our position in Bolivia. Anti-journalism. To embrace, to dwell, to plunge into a space for a while. This takes time. As it is said before, boredom is linguistically connected to time as well. Phenomenologically speaking, boredom is the state of being such that one’s time feels lengthened. 

But Slow Cinema is not only about time. It is also about themes that find less exposure in other, more popular films. Their vertical development, i.e. their in-depth exploration of themes as opposed to a horizontal progression of a narrative by all means, allows us to get closer to a burning topic that are the heart of some people’s lives. Caitlin Meredith, the voice behind¬†Her Head In Films podcast, writes about Yulene Olaizola’s¬†Fogo:

¬†Olaizola‚Äôs focus on the mundane also shows how these men are embedded in Fogo Island. We begin to understand why they cannot leave. They are so enmeshed in the environment–so attached to the land, the wind, and the water–that evacuating is, in some sense, death. It‚Äôs a death of the soul, of the spirit. By refusing to leave, they are resisting this death.¬†

And one thing is sure: as Caitlin points out, at the heart of¬†Fogo is the theme of loss, of death. This is also the case with Lav Diaz’s oeuvre, which I have explored for the Brazilian film magazine multiplot!, available online.¬†

Slow Cinema has often been talked about in the context of temps mort, or dead time. After an action has come to an end, frames remain empty for several seconds, which tests the patience of the viewer. Lav Diaz’s films are no different, but his use of long duration and dead time takes on another dimension. He creates something that I call death time. Death always comes slowly in his films. It takes its time, and it’s not so much about dead time in Diaz’s films but about the slow descent into madness with death being a refuge for the persecuted. 

The journal is a complementary resource to the website you have come to love over the years. There is one secret, which I’m not willing to give away yet, and maybe I never will. But let me say one thing: I have invited filmmaker and artist John Clang to contribute, and his work is so gorgeous that I don’t think I will give it away before at least the pre-sale!¬†

The only thing you need to do now is wait. Which is what I do, too. Good things come slowly, and I’m not too far off the pre-sale. I’m just taking my time to make sure that it’s all good and that I can ship the baby without getting a bad conscience!¬†

In the meantime, if you missed this announcement, you can now support me not only via Patreon and a monthly contribution. You can also buy me a virtual coffee via Ko-Fi. I love coffee when I write for you! ūüôā

The next step – The Art(s) of Slow Cinema Journal

It’s been several years that I dream of publishing my own journal. I was still a student when I began to think about pursuing this because I was frustrated at being rejected because my subject matter didn’t seem to fit anywhere. Things have changed lot, though, since the idea first popped into my head, although I can say for sure that it has never disappeared. Over the years, my blog has become the most visited site in the area of Slow Cinema. I have readers from all corners of the world (except for Greenland, which I find very sad), and I have gotten to know a lot of wonderful people because of my writing. I have gotten to know filmmakers, cinephiles, but I also came across new films thanks to my readers. In the last five years, I have been able to build a network of people whose interest and thirst for Slow Cinema I’m happy to cater for, and who, at the same time, taught me a lot; about cinema, about writing, about confidence, about myself.

It is thanks to Daniel Fawcett and Clara Pais that I’m returning to my idea of publishing a journal. When I held their FilmPanic magazine in my hands, I could no longer shake off this thought. I could no longer ignore it for another couple of years. My guts told me that now was the time. Why is that? Because I feel that this would be the right step forwards; expanding on the blog; inviting other contributors, whom I always rejected because the blog was supposed to be my personal platform on which I developed my own ideas; creating a new challenge for myself; challenging academia and its published content on Slow Cinema.

The Art(s) of Slow Cinema has already given birth to tao films, my video-on-demand platform for contemplative world cinema. The platform went live on 1 January 2017, and after a few adjustments (learning by doing!), we’re now offering a growing catalogue of fiction films, documentaries and experimental cinema. Every month, more films are added and you can either buy the films individually, or you can get yourself a 30-day subscription, which will not be renewed automatically. We’re fair and don’t want to cash in on people’s forgetfulness on having subs with several platforms. So, in case you haven’t yet been aware of this project, you should definitely check it out, because we show films that are difficult to get hold of, or are, in most cases, available exclusively on tao.

The Art(s) of Slow Cinema journal, whose publication in the near future I’m herewith announcing (you should imagine me dance while writing this!), is another step forward, another attempt at expanding on the work I have already done, and at creating alternative content in the context of Slow Cinema. I will take it slow, of course, and start small. There won’t be a fancy design, there won’t be glossy paper, or a team of editors trying to think of what’s best to publish. What this journal will be instead is a space for those interested in the field to publish their ideas and thoughts. The journal will develop as freely as it can, without word limits etc which always inhibit a real development of great ideas. Just as I listen to the filmmakers, who release their films through tao films, I’ll listen to the writers of The Art(s) of Slow Cinema journal and accompany them as best as I can. So what can you expect if not the glossy stuff or a perfectly designed, expensive magazine?

You’ll be able to read exclusive content that you wouldn’t find here on this blog. There will be interviews with filmmakers. There will be filmmaker notes, essays by filmmakers, diaries about their shootings. There will be essays by cinephiles, who have a special interest in Slow Cinema and who love to explore certain themes in more detail in their writing. There will be creative responses to films. There will be a whole lot that you will never find either here or in academic writing. It’ll be a sort of fan journal, if you want to call it this way, albeit this might sound too cheesy and boring.

The first authors have been selected, and they’re working on their respective pieces until the beginning of July. I’m really looking forward to this and feel super excited to take this step this year, as, yes, the first edition will be published this year. Magazines will be available via pre-order only in order to create a sustainable project that does not become a financial burden. I don’t want to prep 1,000 copies if only 100 people want to read it. I don’t have a fireplace where I can burn the rest to heat the house ūüėÄ Nowadays, we need to be reasonable and while I would love to go full-blow on this, I want to do this right, that means careful, thought-through, with the aim to grow if necessary and possible.

Details about the content of the first edition and the pre-order price will be published in due course. I need to collect the articles first and then I can give you an update on everything. Let’s make this happen and please share the slow love! Thank you!

TOMORROW: tao films advent calendar

It’s almost Xmas, and we have prepared something special for lovers of contemplative cinema. Our tao films advent calendar offers 24 previously unseen short films. Each short film is available for 1‚ā¨ only and for 24 hours only. The calendar is a sneak peek on what we will offer in 2018, and, of course, it’s a superb way to celebrate cinema and Xmas at the same time ūüėČ

So here’s the screening schedule for the coming three weeks. The special offer starts tomorrow, 1 December, midnight Central European Time. All films can be bought separately or you can buy the entire calendar in one go. Hope to see you around!! Don’t forget, you can discuss the films in our dedicated tao films community on Facebook. If you tweet about the calendar or want to give us a shoutout, please use the hashtag #taofilmsxmas

1 Dec РTHE SADNESS OF THE TREES by Scott Barley and Mikel Guillen
2 Dec РSHADOWS SET TO THE WEST by Manj Gill
3 Dec – SPIN OF YOUTH by¬†Jo√ęl Duinkerke
4 Dec – PASSAGE by Telemach Wiesinger
5 Dec РA PIOUS MAN by Alex Megaro
6 Dec РINGANNI by Salvatore Insana
7 Dec РTHE PAPERMAN by AbhirOop Basu
8 Dec РTHE EMPTY NEST by Marta Hernaiz Pidal
9 Dec РHUH by Filip Kojic
10 Dec РPSYCHOPOMP by Mariachiara Pernisa and Morgan Menegazzo
11 Dec РNOC by Pilar Palomero
12 Dec РMEMOIRE CARBONE by Pierre Villemin
13 Dec РWEDDING PREPARATIONS IN THE COUNTRY by Akash Sharma
14 Dec РA MIND OF ICE by Eli Hayes
15 Dec РAMPLIACION by Jaime Ignacio Grijalba Gómez
16 Dec РCARROZZERIA MISTA by Francis Magnenot and Katia Viscogliosi
17 Dec РQUIRO by Yudhajit Basu
18 Dec РMEER by Wolfgang Lehmann and Telemach Wiesinger
19 Dec РBRUSSELS NOTES by José Fernandez
20 Dec РFROM THE SIDE by Yefim Tovbis
21 Dec РPESCARE by Kevin Pontuti
22 Dec – OD EL-CAMINO by Martin Meija
23 Dec РTO TAKE ANOTHER HUMAN FORM by Jijo Sebastian Palatty
24 DEC РWHAT REMAINS by Enzo Cillo

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tao films subscription pre-sale

As part of our effort to increase tao films’ visibility, we are running a pre-sale campaign for subscriptions to our VoD platform, the only platform that is dedicated to the art of contemplative cinema ūüôā

There are several reasons behind this campaign. First of all, even though we started off as a no-budget platform, we can no longer hide the fact that it costs money to run a platform like this. I would love to have things differently, but it’s sadly not always possible. Our campaign is therefore an effort to raise at least 600 EUR in order to keep going for the next 12 month. It is also a way to find out whether subscriptions would be a viable way forward as the campaign will show whether there is an interest in subscriptions or whether it is more attractive to price each film individually. I believe it is the former, but we offer different price models for our campaign, so we will see what attracts people most. The money we raise with this campaign helps us not only to keep going but to focus on advertising, on partnerships, on generally increasing our visibility, especially in key cities around Europe and North America (as our main targets) in 2018.

For the duration of the campaign, we offer a one-month subscription for 10 EUR, a three-months subscription for 25 EUR, a six-months subscription for 50 EUR, a twelve-months subscription for 100 EUR and one lucky lifetime subscription for 500 EUR. Each of those subscriptions will become available in the new year and you can then decide when you want to start watching our films. All films are available to you, all the time, for the duration of your subscription.

Our campaign runs until 16 October. If you love what we do, please consider a subscription. If you cannot support us financially but love what we do, we would appreciate it if you could share the link to our campaign and tell everyone how amazing we are ūüôā

Do check our campaign on Indiegogo (click, click!). Thank you so much for your support in the past. I appreciate your help and support, and I’m looking forward to continuing this contemplative journey through world cinema with you!

tao film selection and other news

Welcome to a new selection tao films films for you, handpicked just for you ūüôā Before you dive into it, let me say that tao films will start a free collection very soon. We’re currently preparing it. In order to give you a taster of our work, some films will be available for free on our platform. I’ll let you know once everything is up and running for this. And now, please welcome…

BYRON JONES by Ashish Pant (2013, US/India, 108min)

“If there is something that characterises contemporary ‚ÄúSlow Cinema‚ÄĚ in particular, then it is the directors‚Äô focus on the everyday. They hold a mirror in front of us, in front of our pains, our joys. Ashish Pant‚Äôs Byron Jones belongs to this category of filmmakers., but he stands out, taking the focus on the ordinary everyday further than other directors do. Byron Jones is a two-hour long portrait of an elderly man. We see him sleeping, showering, preparing meals, eating. In particular the last two daily habits might evoke in some viewers the memories of Chantal Akerman‚Äôs Jeanne Dielman; the almost hyper-real depiction of a woman‚Äôs day-to-day going ons. Jones, a widow perhaps, lives alone, which the director enhances with an almost oppressive silence that characterises the man‚Äôs solitude. With his insistence on showing Jones‚Äô daily activities in detail through the use of almost extreme long-takes, Pant has created a hyper-real portrait not only of Byron Jones, but of most of us.”

ART 35.5. HOURS A WEEK by Mariken Kramer and Eli Eines (2017, Norway, 22min)

“The front security door opens and the first visitors enter the National Gallery in Oslo. Another day at the gallery begins. But while this is another day of leisure for local visitors or foreign tourists, several coming from far away to see the classics, it is another day of work for the security guards who surveil the precious paintings the National Gallery is home to. Artist-filmmakers Mariken Kramer and Eli Eines, both alumni of the Trondheim Academy of Fine Art, focus in their documentary on the behind-the-scenes at the National Gallery, singling out those people who spent the most time with the paintings in front of them. In careful long takes, Kramer and Eines evoke the required slow look at a gallery, all the while speaking to the guards in order to learn about their work, but most importantly about their relationship to art. In the background of the directors‚Äô frames, viewers speed through the different rooms only to take a picture of a famous painting; a beautiful contrast that forces us to think about our relationship to art, our willingness to take time for what surrounds us, and our appreciation of it.”

ONE TIMES ONE by Chris Bell (2016, US, 20min)

“It is not easy to leave one‚Äôs home. It is even more difficult to build a life in another country, a country that is, perhaps, very different of one‚Äôs own. Ahmad emigrated to the US from Syria but struggles to find his feet. His days are spent idling, waiting for job opportunities that rarely arise for him. One Times One tells the story of Ahmad and a curious, if at times ambiguous, companionship with Mike, a 50-something American who lost his arm in an accident and keeps himself busy by drawing cartoon characters. Chris Bell uses the same patience he has shown in his feature film The Wind That Scatters in order to dig deeper into Ahmad‚Äôs daily life and struggles. It‚Äôs an episode that plays out so many times in our world that it gets overlooked and forgotten, but Bell brings it back into light and makes us aware of this enforced idleness that puts our life on hold.”

LADDER by Simo Ezoubeiri (2015, US/Morocco, 8min)

“An elderly man, alone, wakes up. He appears to be in a state of arrest. His movements are slow; he is sleepy. He is being drowned by something, something that weighs heavy on his shoulders. In one scene, we see a woman leaving the house with a suitcase. The house falls quiet, and it becomes clear what the weight on the man‚Äôs shoulder is. There is a profound sentiment of loss that Simo Ezoubeiri attempts to bring across in his film. The loss of a partner, through death of a break-up, causes a temporary stoppage of time and opens up a hole both in the person‚Äôs life and in the person itself. In long-takes which show the elderly man do nothing but idling, Ezoubeiri gets to the bottom of this sudden emptiness and loneliness, and lets us feel what it means to be left behind.”

KHOJI by Yudhajit Basu (2016, India, 20min)

“Set in the lower Himalayas, Yudhajit Basu‚Äôs short film Khoji is an ominous piece that uses the violent history of its people as a background in order to explore (and explain, perhaps) the people‚Äôs struggle today. And yet, this history is visually absent from the screen. In carefully framed long-takes, Basu lets the images speak as well as the dialogue in which parents consider sending their daughter to the city because it is no longer safe where they live. Or a dialogue in which a brother, almost surprised, asks his sister whether she wasn‚Äôt aware of what was happening in the neighbourhood. Something is happening; it hovers over Basu‚Äôs film, over every frame. The director suggests rather than tells, using still and quiet imagery that show resemblances to some of the big names in Slow Cinema.”

 

Other news

This autumn, Sebastian Eklund (director of¬†The Blind Waltz) will open his first solo exhibition at the Konstepidemin in G√∂teborg, Sweden. He’s a great visual artist, so if you’re in or around G√∂teborg, do use the chance and see his work.

Pilar Palomero has been awarded a Special Mention at the Sarajevo Film Festival for her film WINTER SUN. The special mention has been awarded by one of the festival’s partner in the larger context of the Bosnia and Herzegovina Student Programme Award. Congratulations!

If you want to learn ore about the director of Onere, Kevin Pontuti, there is a new interview with the filmmaker available, conducted as part of the short film programme of the Prague International Film Festival. You can read the interview here.

Scott Barley’s¬†Sleep Has Her House will have its Canadian theatrical premiere on 24 September as part of Art House Theatre Day. You can read more about the event and book tickets here.

La Pesca by by Pablo Alvarez screened at the Camden International Film Festival this month . The film will come to tao soon, and I cannot wait to show this beautiful short film to you!

More news about Kevin Pontuti. The filmmaker has taken the helm of a new study programme called “Media X” at the University of the Pacific this semester. You can read all about the director’s new university programme here.

While his short film¬†Ladder is being shown on tao films just now, Simo Ezoubeiri’s new project¬†Inner Marrakech¬†begins to travel the festival world, starting with the Kaohsiung Film Festival in Taiwan.

We hope you enjoy the new selection. Do join us in our tao films Facebook community, or follow our Facebook page, or our Twitter account for the latest updates on tao films and festival news from around the world.

Tao Films Selection for August and Other News

On 1 August, we added 5 films to our permanent tao films library. There is now a selection of 20 films from 17 countries available to you. I’m particularly happy of adding more contemplative experimental films because I love just how much they have you engaged, how much you’re left to your own devices. Maybe this will become my new thing now!

tao films selection 

BALADA by Anton Petersen (Faroe Islands)

The last evening together – a couple who has just broken up need to clean their apartment before the next morning when both of them will go their separate ways. Petersen, from the Faroe Islands and a former student at B√©la Tarr’s film.factory places emphasis on the rift between the two characters, but does so with little dialogue. Instead, the mise-en-sc√®ne and the film’s characteristic smooth travelling camera speak volumes.

KALEIDOSCOPE by Telemach Wiesinger (Germany)

One could say that Telemach Wiesinger is the modern man with a movie camera, a sort of contemporary version of Dziga Vertov, whose film is and will always remain a classic. Kaleidoscope is a film poem, a travelogue, perhaps a book of moving images in 21 chapters. The images, well-chosen and put into light, are, thanks to Wiesinger’s versatile aesthetics, a reminder that there is not one tempo, one form of pace in life. Rather, it is a combination of speed and slowness, of linear time and time that progresses like the movements of a river.

LA COGNIZIONE DEL CALORE by Salvatore Insana (Italy)

This film is shown for the very first time in the world and I’m proud that tao films could be the platform for the world premiere of Salvatore Insana’s new experimental short film.¬†La Cognizione evokes several feelings at once, and perhaps the idea of memory is strongest throughout the film. Or is it? Insana uses sound in a peculiar way, allowing it an almost hyperreal presence, rendering the images spooky, voyeuristic, but also intriguing and captivating. Through its hyperreal and yet vague aesthetics, Insana has created an impressive experimental, say experiential, film that will captivate your senses.

LETTERS FROM THE DESERT by Michela Occhipinti (Italy)

Seven years (!!!) after the first release of the film,¬†Letters from the Desert, the first feature film by Michela Occhipinti, is finally available for the world to see. I have come across this film during my PhD research, and I’m proud that I can give this patient documentary a home now. Occhipinti tells the story of a postman in the desert. We see him picking up letters at the train station and distributing them to several villages. The arrival of letters is an event, something that we have long forgotten. But there are signs of change; the first communication post appears in the middle of the desert…

THE BLIND WALTZ by Sebastian Eklund (Sweden)

Another experimental short film that is one of my favourites at the moment. The extraordinary vision Eklund shows in his photographs (he’s also a photographer) also shows in his cinematic work.¬†The film’s stunning images take us on a journey through his house while the crisp-clear sound makes one believe that what is happening is happening around us, in our own home. Eklund‚Äôs visual and aural treatment is almost hyperreal and it finds its climax during the blind waltz that is almost illusionary and yet, it is real.

In other news

Eight months into our work, we have (finally!) been written about, and in a very positive way, too! I couldn’t believe my eyes when I saw the article in S√ľddeutsche Zeitung, one of the three main newspapers in Germany, a daily paper from Munich. That was worth a drink and really helped to get our name out. But more needs to be done. We’re now in contact with KONT magazine, a new slow magazine from the Netherlands…

The first Slow Short Film Festival is coming up. It takes place in England and several of our films (already showing or still to come) will be shown on a big screen, amongst them ECCE HOMO by Dimitar Kutmanov, CENTAUR by Aleksandra Niemczyk and ONE TIMES ONE by Chris Bell. Hats off to the organisers! More info, including a trailer can be found on the official website.

Kevin Pontuti’s ONERE keeps traveling the world, and has been selected for the Nevada City Film Festival. Watch Kevin’s film now on tao films, if you’re curious as to what all this festival buzz is about.

Sorayos Prapapan’s new film DEATH OF THE SOUND MAN has its premiere at the Venice Film Festival. His short film¬†A SOUVENIR FROM SWITZERLAND is still available on tao films.

EHO by Dren Zherka, soon available on tao films, will have its Austrian premiere in Kitzb√ľhel this month.

Another film just had its world premiere;¬†1000 SMILES PER HOUR by Fabian Altenried premiered in Edinburgh and has also been selected for the Sarajevo Film Festival, which has just come to a close. I’m sure many more festival screenings will happen, and we’re looking forward to showing the film in the near future.

More news to come next month! Till then, keep watching good films and take it slow!

Tao Films Selection and Other News

In the last six months, tao films has gone a long way. We started off with a mere six films in January that were replaced by a selection of eight films in April. By now, we have a permanent selection of 15 films available for streaming. And many more films are to come. We have around 80 short films and 50 feature films which wait to be uploaded, and we can’t wait for you to see them. But all in its own time…

This July, we have switched to a permanent collection, a library of films that cannot, for the most part, be found somewhere else. We pride ourselves with selecting films from mostly young and emerging talents from around the world in order to give them a chance to showcase their work. We have added 4 films this month, ranging from fiction films to experimental cinema.

In The Night of all Things/La Noche, director Pilar Palomero explores themes of loss as a result of death in connection with childhood. Her film is a quiet study, a study that makes palpable pain and grief transmitted through silence and the slow progression of time.

The night of all things – Pilar Palomero (2016)

Eli Hayes’¬†Mercury Vapor¬†is an experimental film that, over the course of two hours, asks you to free your mind, to be open to the moving images, not always clear, blurred at times, open to what is happening on your screen. Hayes does not tell a story; the story shapes up in your head alone. The film becomes what you see in the director’s images, and it is this characteristic which makes¬†Mercury Vapor¬†a special experience.¬†

Mercury Vapor – Eli Hayes (2017)

In his short film Onere, which is part of a larger project, Kevin Pontuti metaphorically explores the theme of self and the role of our identity. What does it mean to carry the weight of ourselves? Can we detach ourselves from our identity and choose a new one?

Onere – Kevin Pontuti (2016)

In A Place Called Lloyd, Danish director Sebastian Cordes takes us on a trip to Bolivia. Even though the national airline Lloyd Aereo Boliviano has gone bankrupt, its workers show up at their workplace every day. In at times vast and impressive shots, Cordes captures the stories of these people and their sense of dedication and pride. 

A place called Lloyd – Sebastian Cordes (2015)

Some films from season one have returned and others from season two have stayed on. We’re happy to say that the following films are also available on tao films:¬†Bare Romance¬†by Belgian director Karel Tuytschaever,¬†Centaur¬†by Aleksandra Niemczyk from Poland,¬†Ecce Homo¬†by Dimitar Kutmanov from Bulgaria,¬†Metropole¬†by Ozal Emier and Virginie Le Borgne from France/Lebanon,¬†Osmosis¬†by Nasos Karabelas from Greece,¬†Remains¬†by Yotam Ben-David from Israel,¬†Seaworld¬†by Hing Tsang from the UK,¬†Sixty Spanish Cigarettes¬†by Mark John Ostrowski from Spain,¬†A Souvenir from Switzerland¬†by Sorayos Prapapan from Thailand,¬†Transatlantique¬†by F√©lix Dufour-Laperri√®re¬†from Canada, and¬†Wanderer¬†by Martynas Kundrotas from Lithuania.¬†

In other news…

There is a lot happening with our filmmakers and they make us proud. First of all, we’re happy to say that Yudhajit Basu, whose film¬†Khoji¬†will show on tao next month, has been accepted at the prestigious National Film and Television School in India. Congratulations!¬†

Emily Cussins’¬†Diviner Intervention, to be released on tao soon, has been selected for the Science Arts Cinema Festival (if this is not a curious festival, we don’t know what is!).

Kevin Pontuti’s¬†Onere¬†keeps traveling to various festivals, so many, in fact, that I lose track of them.

Centaur by Aleksandra Niemczyk was screened at the International Film Festival in Madrid this month.

Félix Dufour-Laperrière, director of Transatlantique, is putting the finishing touches to Ville Neuve, his new film.

The Slow Short Film Festival, all new, will kick off in September and they have selected quite a few tao films. Check out the line-up, or rather impressive screen grabs of the selected films, on the official website. I’ll try to be there and maybe I meet some of you ūüôā

There is a lot going on, and I will keep you updated here on The Art(s) of Slow Cinema. Stay tuned!

Seaworld – Hing Tsang (2016)

!!! This film is now available on tao films !!!

What I like about my job (is it even a job?) is that I always find films that surprise me; films that show me something I haven’t seen before; films that startle me in a positive way. It keeps up my faith in cinema, in the idea that not everything is (as yet) homogenous for a homogenous mass out there.¬†Hing Tsang’s¬†Seaworld is one of those that, to be fair, took a while to get me. But the longer the film lasted, the more I loved it. If you have seen slow films before, or even just our films on tao films, then¬†Seaworld will surprise you. It might make you raise your eyebrows. It might make you laugh. But its smoothness, its gentleness, will take you on a very enjoyable journey to the bottom of the sea.

Seaworld (Hing Tsang, 2016)

Seaworld is not the ordinary slow film. It is not entirely narrative, but not entirely experimental either. It is not entirely fiction, but not entirely documentary either (“I try not to work within the limits of genre.”). It is a game, a playful trip alongside sea creatures that you sure haven’t seen this way yet. For this film, Hing Tsang, a lecturer in Suffolk whose work focuses on documentary film, worked together with Jos√© Navarro, a puppeteer from Peru. While the film starts with “real” footage taken at a beach, the film then shifts to the actual sea world, entirely replicated by Navarro’s body; arms and legs become fish and other creatures. Even shoes become creatures that one can find in the sea.

The movements of Navarro’s arms, legs and feet are graceful. They’re imitating the movement of sea creatures beautifully. The use of a green and slightly blue background to these movements gives us a sense of where we really are. The creatures are slightly transparent at times, at others they’re a bit blurred. The characteristics of water change our perception of what we see in it, and Hing Tsang is trying to get as close to this as possible, albeit in an abstract (puppeteer) way. When I saw the film in London, where I met the director, I was conscious of the film dragging me towards it,¬†pulling me into it. But I couldn’t resist. Not that I wanted to, but I nevertheless found it curious that I couldn’t let it go.

Seaworld (Hing Tsang, 2016)

Seaworld is not just a combination of dream imagery. Hing Tsang uses a very effective, minimalist soundtrack that renders the film a visual lullaby. Just speaking of the sound, the film reminded me of Apichatpong Weerasethakul’s short film¬†Mekong Hotel. The images are very different, but the persistent slow guitar music functions as a lullaby; it pulls you in, it makes you sleepy. The same process goes on in Hing Tsang’s¬†Seaworld.

I would strongly advise you to give this film a try via tao films where it is available for streaming. It’s a wonderful piece of work, something that definitely helps you to wind down after a long week of work. It’s Friday, and¬†Seaworld would surely help you to take it slow, all the while showing a kind of slow film you have probably not seen before.

Remains – Yotam Ben-David (2016)

!!! This film is now available on tao films !!!

What remains if a relationship, if love, has hit a dead end? We have all been at this point, asking ourselves whether we’re still moving forwards together, as a couple, or if we have long reached a stage¬†when it is almost impossible to return to the good old days.

With patience and an eye for detail (in a couple’s routine life), Yotam Ben-David from Israel explores this painful stage, often ignored out of fear to face the reality and the frightening possibility of being alone again. Itamar and Thomas, the protagonists of Remains,¬†couldn’t be more different from one another. Whether it was a coincidence or not, the respective¬†size/height of each character says a lot about how they are positioned in their relationship. Thomas is a tall, almost overpowering man. He is forceful and patronising. Ben-David doesn’t show this with the help of low angles, which would establish Thomas’ overpowering nature clearly on a visual level. Instead, the director asks us to¬†read the character through his actions. This might take longer, but it is a way to get the viewer engaged without feeding them with a golden spoon.

Remains (dir Yotam Ben-David)

Itamar, played by the director himself, is the complete opposite. It seems as if he is with his back against the wall, not having enough breathing space, being unable to move, to live. Regardless of what he does, it is wrong. The relationship is no longer an intimate community of love, but a sort of boxing ring where battles take place on a daily basis. Night appears to be the only relief for both sides, until another day, another battle, begins.

Ben-David uses beautiful night shots in order to underline the idea of a period of peace. But you can’t ignore the fact that the director’s characters are shown primarily alone in those night shots, suggesting that peace can only exist if the two partners are embalmed by solitude. It is uncomfortable to watch the two men positioning themselves in strong opposition to one another. There is persistent tension between the two, which acts as a thread which leads us through the film’s narrative.

All of this is, of course, the mere surface of the film. I had watched the film twice or three times, before I realised that the film has a deeper meaning. There was something that went beyond the depiction of a relationship that has hit a dead end. In fact, Ben-David said in an interview with tao films:

All of my films have roots in my own reality and my own experience, but at the same time I try to distil and highlight certain elements from this experience in order to examine them closely through my films. In this case I was very interested in this type of role play between dominant and submissive, which is something I believe we all live to a certain degree (even if not in the same volume as in the film). I was specifically interested in the different shades and nuances between those two poles, finding power in passivity and weakness in control. I was also interested in the idea that power is both attracting and destructive.

Remains (dir Yotam Ben-David)

Remains uses its characters in order to explore the concept of power. This goes beyond the¬†on-screen relationship between two men. Quite interestingly, it has a political edge to it. The idea of an attractive¬†personality which you follow and engage with only to find out that once you’re in this relationship (any type of relationship, it doesn’t have to be a loving relationship) you are oppressed to a point where you are aware of what’s happening without being able to stop – this rings so true in current politics where the right is on the rise around the world. Or when even left politicians turn out to use their power to, quite literally, overpower.

This political aspect of Ben-David’s¬†Remains might not be very obvious. The young director is very clever in¬†hiding the obvious, asking us to search for something that is just as important as the surface¬†that plays out on screen. The short is a subtle investigation into human relationships and the power that plays out between them. Could we go as far as saying that the power Ben-David depicts mirrors societies, too, confronting one another because of their differences? Watch the film on our platform and see for yourself.

Sixty Spanish Cigarettes – Mark John Ostrowski (2015, repost)

!!! This film is now available on tao films !!!

There is something sublimely beautiful about Mark John Ostrowski’s film Sixty Spanish Cigarettes (2015). Fifteen minutes into the film, an extreme long shot captures the sea and coast in the background. From the right hand side of the frame, a small boat comes into view. Ostrowski’s camera stays with the boat and follows it. Even in this extreme long-shot, we can see how the boat is moved by the wind and the waves. The sun is shining from behind a few clouds, it seems. The image is not in colour, even though you would perhaps think that. Coastal images in colour are always superb.

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But no. Ostrowski works against our expectations. He frustrates us. Scenes of blissful contemplation are interrupted by hard cuts to a black screen. Those contemplative scenes of land- and seascapes, for instance, feel like a carrot Ostrowski is hanging in front of our eyes. But he takes that carrot away as soon as we have almost reached a state of contemplation. We cannot contemplate everything at once. We have to give it time. We have to be patient in order to reach this desired state. Ostrowski works well in alternating beautifully slow shots with a black screen, the latter making us hyper-aware of where we are.

Paradoxically, Sixty Spanish Cigarettes is about movement, and yet it gives us no feeling of speed at all. We see the protagonist walking through several different (beautiful) landscapes, which reminded me strongly of those used in Albert Serra’s Birdsong (2008). The clouds are brushing slowly over the hills, while the man is often dwarfed by the immensity of the landscape. He is alone, alone on his way to an unknown location. At times, he stops to light a cigarette. At other times, he simply rests. It is this solitude which gives us a feeling of slowness, a sense of pause. The repeated scenes of a man’s walking through an empty landscape brought a wonderful book back into my head;¬†The Philosophy of Walking. If you haven’t read it, please do get yourself a copy.

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Ostrowski’s film shows the director’s superb photographic eye. Many of his shots are beautifully composed. They could easily be photos in an album, or large prints in a gallery. To me, the visual beauty of the film was also its strongest asset; the viewer in awe of nature, in awe of simple but expressive architecture. Ostrowski’s long-takes of those “photos” helped me to pause, to be in the present but also to wonder what the protagonist was really up to. I’m not entirely sure whether this is ever fully revealed in the film, but it is of little interest in any case.¬†Sixty Spanish Cigarettes is more of an atmospheric film than about a set narrative persistently progressing within the film’s 60 minutes running time. It reminded me of Martin Lefebvre’s modes of viewing; the narrative mode and the spectacular mode. Many slow films, which most certainly includes Ostrowski’s film, operate very much in the spectacular mode, even though there is a narrative mode in all. But the narrative mode is suppressed in many instances to give way to contemplation.

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I believe that the film could have been a tick shorter in order to make full use of its shots. I’m not entirely sure when this shot appears, perhaps after around 45 to 50min. There is a beautiful extreme long shot of a landscape at the coast, with the protagonist sitting on a rock or something similar. He has his back turned to us and is looking at the scenery, like us. I expected the film to cut there. It would have been the most fitting and most suitable ending for the film, but unfortunately Ostrowski did not cut there and kept going instead.¬†The final images, to me,weakened the film slightly because they were not entirely necessary.

Nevertheless, with Sixty Spanish Cigarettes, Ostrowski has created a beautiful piece of Slow Cinema, which, regardless of whether or not he continues this slow journey, adds him to my list of directors to look out for in future. If the film runs at a festival near you, I highly recommend watching it!