Search results for: Apichatpong Weerasethakul

As expected, master filmmakers both in the longstanding (Loach, Cronenberg, Reygadas, Haneke, Kiarostami) and relatively new (Matteo Garrone, Cristian Mungiu, Sergei Loznitsa) V.I.P members of...

What do Apichatpong Weerasethakul and Dominican baseball players have in common? Strand Releasing of course. The distributor have made a  successful play for theatrical...

Similar to the Directors' Fortnight in Cannes, or the Visions and Vanguard programmes at TIFF, Venice has their own special sidebar for the more experimental folk on the cinema stage, called Orizzonti (Horizons). Last year saw some pretty heavy titles in this section, including Catherine Breillat's dream fable Sleeping Beauty, José Luis Guerín's local colour doc Guest, Hong Sang-soo's quadrant-structured Oki's Movie, and Patrick Keiller's continuation of his heady essay films with Robinson in Ruins.

While watching these films offers its own experiential whirligig of psychoanalytic readings and cultural anthropology, the exhibition - which consists largely of photographs, movie clips, and advertising memorabilia - gives them the sort of depth that one could only really have had by actually living through the pop culture melee that spawned them.

Some auteurs grace cinephiles with their gifts only about has frequently as there are national elections (or if you're Terrence Malick, with the election of each new pope), and then there are guys like Hong Sang-soo, whose personal agenda seems to be: appear in as many major film festivals as possible until they cease to exist. Having just debuted one of his very best features, The Day He Arrives, in Cannes' Un Certain Regard section last May, he's now back to work on a new feature - though who's to say that he doesn't already have another new one in the can?