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Worth a look if solely for Farber’s commentary. Petit frames the footage within a series of car window snapshots of the American landscape, providing a backdrop to Farber’s artistic perspective and deriving a soft relationship between their critical sensibility and the way in which one accumulates memories scanning over barren deserts - “his essays, like his paintings, covered a lot of ground”.
Mary Jirmanus Saba’s project - an inquiry into the suppressed history of two factory strikes in 1970s Lebanon and the working women’s contributions to the effort - builds out of an assemblage of forms and texts, each piece unlocking further resonances within the others until the spectrum of its 40-year-old history extends to the contemporary moment. This moment sees the reunion of the strikes’ participants, organizers and workers alike, and redirects the attention of the archival footage from something once…
In an interview with David Grillo, Solomon describes the difference between his and Brakhage’s films by noting that, “there’s no sense for me of a body actually behind the camera as oppose to lets say Brakhage, where you almost always feel the human physicality behind the camera in his photographed work.” This distinction seems clear in how both filmmakers approach illustrating life, aging, and death - Brakhage overwhelms the senses while Solomon focuses them and whereas Brakhage’s films are always…
In some respects, Snow is positing an antithesis to Brakhage’s filmmaking, at least as far as Brakhage’s expressionism (the camera as representative of Brakhage’s eye) is at the opposite side of the spectrum from Snow’s impressionistic vision. From my own personal experience, La région centrale has informed my awareness of the distinction between what the filmmaker sees, what the camera captures, and what the audience perceives in the frame.
If one supposes that part of our attraction to cinema, as…