by Jacqueline Valencia Note: This is part of our coverage of TIFF Bell Lightbox’s On the Road: The Films of Wim Wenders This essential retrospective devoted to one of the giants of the New German Cinema features new digital restorations of Wenders’ essential early works. Jan. 28 – March 6,
by Jacqueline Valencia Lucifer Rising is perhaps the most elaborate of Kenneth Anger‘s films. With locations in Egypt, England, and Germany, Anger conned the Egyptian government into believing he was making a documentary about Egyptian peoples. In fact, he was making a film about Egyptian gods summoning the age of Lucifer. The
by Jacqueline Valencia The thing about this movie is how it keeps repeating. It gets copied, distorted, spliced, and re-analyzed through other people’s films ad nauseam, and with good reason. The genius in Last Year of Marienbad is in its reiteration of enigmatic patterns that obfuscate real meaning in life.
by Jacqueline Valencia It’s been an amazing week of watching short films. Sometimes I had the opportunity to screen some of these in the comfort of my home for review or interpretation. Occasionally I’d get a comment from a passerby wondering what the hell I was watching. I’d have to
by Jacqueline Valencia “What the hell did I just watch?” was a common utterance after an experimental film in cinema studies class. It’s also exhilarating to hear from fellow students who wanted to make or critique film, but had been exposed to Steven Spielberg or other filmmakers of the blockbuster
by Jacqueline Valencia There are two modern films that stick out for me when I think of Federico Fellini‘s 8 1/2: Christopher Nolan‘s Inception and Shane Carruth‘s Upstream Color. After revisiting the academic texts of Lacan, Deleuze, and Debord (as reviewers inevitably, albeit indirectly or subconsciously do), the psychological & sociological distortions