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Author: Ela Bittencourt

Cinema And Politics: The Reagan Show

President Ronald Reagan signs the Economic Recovery Tax Act of 1981, Rancho del Cielo, CA, 1981. As seen in The Reagan Show, directed by Pacho Velez and Sierra Pettengill. Photo credit: Karl Schumacher. Photo courtesy of the Ronald Reagan Presidential Library. (Gravitas Ventures & CNN Films) There’s a common Brazilian saying that if we saw how sausage got made, we’d probably never want to eat it. Much the same can be said about politics, or about how political news gets made and disseminated. The White House, viewed as a creator and disseminator of images, dictating the public conversation, is...

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Cinema And Politics: Peter Nestler

After the Peter Nestler retrospective at Tate Modern, in 2012, now American audiences have a chance to appreciate the major German documentarian’s work, at the Film Society of Lincoln Center, in a retrospective presented in collaboration with the Flaherty Seminar. The retrospective title, “Vision of Resistance,” is apt. Post- WWII Germany of Nestler’s films is a land of the defeated, the dispossessed, and the weary. It is almost as if the clock had turned, and time cycled back to the Depression Era Germany of economic woes that had made Hitler’s rise possible, in the first place. “Resistance,” in this...

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Cinema And Politics: Living At Risk

Much is being said about the aesthetics of documentaries. Particularly when it comes to social documentaries, we can never be reminded enough that the act of mere renunciation won’t do, at least not in cinema. Yet I’m also reminded just how rich documentaries can be in connecting us to the moment—in their political, social engagement. It seems that the 1960 and 70s particularly were a moment when filmmakers of all stripes, from practiced documentarians to predominantly fiction filmmakers, such as Jean-Luc Godard, were picking up their cameras to contribute to the political debate—from less successful efforts, such as the...

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The Unbearable Weight of Time: Wojciech Jerzy Has’s THE NOOSE at the Museum of Modern Art

Wojciech Jerzy Has constructed his fantastical sets with the diligence and brilliance of a madman. He is most famous for his operatic, elaborate films, The Saragossa Manuscript (1965), and The Hourglass Sanatorium (1973), in which fantastical scenarios, built as stories-within-stories, act as both physical and metaphysical landscapes. The highly evocative plasticity of Has’s sets draws as much from theater, and from the practices of such performance artists as Tadeusz Kantor—who, like Has, lived and worked in Krakow—as it does from cinema, including German Expressionism and Luis Buñuel. Has was also un uncanny master of realism, or hyperrealism, since he...

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New Directors New Films: Happy Times Will Come Soon

One of the most surprising films at this year’s New Directors New Films festival also happens to be the winner of FICUNAM, a small, ambitious film festival that takes place annually in Mexico City: The charms of Alessandro Commodin’s Happy Times Will Come Soon are perhaps not immediately apparent, yet its powerful, subtle imagination slowly works the viewer into a feverish, dreamy state. The film’s win at FICUNAM was doubly surprising, as so many works I saw there seemed to run against Commodin’s purely allegorical aesthetic, no doubt proof of that festival’s ample understanding of film craft. The Cátedra...

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