Vlatko Gilic – In continuo (1971)

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SIlver Bear Berlin Festival Winner – Best Short FIlm

In continuo (1971), koji je nagrađen kao Najbolji kratki film na Berlinskom filmskom festivalu te godine, za koga se – bez sumnje – može reći da je u međunarodnim razmjerama uzdrmao ili preispitao pojmove i žanrove kratkog filma, dokumentarnog filma, te upotrebe simbola i metaforičkog značenja u paralelnilm

In Continuo uses slaughterhouse imagery to present the warlike nature of man, first depicting the cleaning and mechanical preparations for the slaughterhouse and then the killing, however, the animal slaughter itself isn’t shown. Continue reading →

Evangelia Kranioti – Exotica, Erotica, Etc. (2015)

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” Sailors are like terrorists. They arrive in ports with a bomb called love and throw it. And do you know what happens? The bomb explodes when they go away and they never come back, destroying the hearts of all the girls in the neighborhood. How strange – To love somebody who pays you…” Continue reading →

Dziga Vertov – Chelovek s kino-apparatom aka Man with a movie camera (1929)

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This playful film is at once a documentary of a day in the life of the Soviet Union, a documentary of the filming of said documentary, and a depiction of an audience watching the film. Even the editing of the film is documented. We often see the cameraman who is purportedly making the film, but we rarely, if ever, see any of the footage he seems to be in the act of shooting! Continue reading →

Clément Perron – Taureau (1973)

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The population of a small Beauce town in Quebec dogs a mother and her daughter who are believed to trade on their charms. The film shows the brutal reality of the village inhabitants’ behaviour toward the mother and her daughter. Taureau, the woman’s son who is a little crazy, but as strong as an ox, even takes the liberty of courting the teacher. The Beaucerons feel obliged to avenge their honour. Continue reading →

Andrei Tarkovsky – Stalker [The Criterion Collection] (1979)

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Andrei Tarkovsky’s final Soviet feature is a metaphys­ical journey through an enigmatic postapocalyptic landscape, and a rarefied cinematic experience like no other. A hired guide—the Stalker—leads a writer and a professor into the heart of the Zone, the restricted site of a long-ago disaster, where the three men eventually zero in on the Room, a place rumored to fulfill one’s most deeply held desires. Adapting a science-fiction novel by Arkady and Boris Strugatsky, Tarkovsky created an immersive world with a wealth of material detail and a sense of organic atmosphere. A religious allegory, a reflection of contemporaneous political anxieties, a meditation on film itself—Stalker envelops the viewer by opening up a multitude of possible meanings. Continue reading →