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Author: Tanner Tafelski

Killer of Sheep

Charles Burnett still hasn’t gotten his due. If he had, he wouldn’t struggle so much to finance his films. In spite of his later difficulties, Burnett’s first feature—his thesis film at UCLA—Killer of Sheep (1978), has gone on to influence quite a few artists in the late 20th and early 21st century. You can find traces of it in Lynne Ramsay’s Ratcatcher (1999) and David Gordon Green’s George Washington (2000), on the cover of Mos Def’s The Ecstatic (2009) (an image taken from the film), and in the stew of influences that make up David Jenkins’ Moonlight (2016). Killer...

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Creating Friction: An Interview with Salomé Lamas, Part 1

Borders, thresholds, and limits—these are the things that run across Salomé Lamas’ diverse, yet thematically cohesive body of work. The Portuguese filmmaker works in the grey realm between fiction and nonfiction cinema, often exposing the underpinnings of flimsy categories. She makes hybrid films about legionnaires, mercenaries, miners, and more, in some of the most marginalized and intense environments in the world. Last month, Lamas was in town to present a few of her shorts for KINOSCOPE’s screening at Anthology Film Archives, as well as to introduce No Man’s Land (2012) at the New School. KINOSCOPE’s Tanner Tafelski spoke with...

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Art of the Real: Brothers of the Night

By day, Vienna is gray. People go about their day-to-day routines. The hustle and bustle of the city goes on and on. But at night, Vienna transforms. It becomes a parallel world made up of make believe and performances. An artificial world set to the slow-drip rhythm of the night, where middle-age men buy boys at bars. Under the reassuring veil of night, this world is the focus of Patric Chiha’s latest film, Brothers of the Night (2016). Bulgarian Roma men sell their bodies to other men. They make Café Rüdiger, a gay bar, their kingdom. If they are...

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White Sun & The Last Family| New Directors/New Films 2017 Discoveries

New Directors/New Films is one of the best series programmed in Manhattan every year. This is quite a feat considering the quality and quantity of annual series that spoil New Yorkers—the New York Film Festival, BAMcinemaFest, the New York Asian Film Festival, “To Save and Project” at MoMA, “Migrating Forms” at BAM, and on and on. Unlike these other programs, viewers get to experience unknown entities—burgeoning filmmakers with one, two, three movies under their belt. This 46-year old series embraces discovery. And what discoveries too be had! This year features a work from a nascent film scene and one...

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Only the Lonely: Josef von Sternberg’s Anatahan

Cinema has the power to express the brunt of loneliness. This idea wasn’t lost on Robert Kolker who wrote a book called A Cinema of Loneliness (1980) that examined a group of New Hollywood directors. Characters from all sorts of films feel different strains and gradations of it. There are those, like Catherine Deneuve in Repulsion (1965) and Delphine Seyrig in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), slowly cracking up in their domestic holes. Sometimes, such as Lee Kang-sheng and Yang Kuei-Mei in Tsai Ming-liang’s The Hole (2001), tenants reach out and touch someone from their...

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