Hossain sabzian biography of albert
•
Matthew Rankin’s second feature film Universal Language is one of the most beautiful films I’ve seen as of late. I had the honor of speaking with him about creating this surreal fusion of Winnipeg and Tehran which he calls a cinematic third space. A blending of cultures, fashion, and architecture to tell a story which is an amalgamation of his real life experience growing up in Canada with his love for Iranian cinema. We spoke about becoming a public facing figure, developing his wardrobe, his love for brutalist architecture, and the influence Abbas Kiarostami’s Close Up had on his new film. Universal Language is now showing in theaters around the US. Make sure to see it up on the big screen and get lost in this dream-like world Matthew and his collaborators have created together.
Hagop Kourounian: I’d love to start this off by asking you about your own personal style and your relationship with clothing. How much time do you spend thinking about clothes?
Matthew Rankin: It's interesting you should ask that. I don't really think too much about it because, you know, I spend most of my time just not sort of in a public world. When we got into Cannes, I was like, wow, I'm really a schlub. I have to get some new clothes. The producer of our film, Sylvain Corbeil, is really one
•
New Nonfiction Film: Art, Poetics, and Documentary Theory, by Dara Waldron. Bloomsbury Academic, 2018, 207 pp.
Darrell Varga
[PDF]
For Dara Waldron, the creation and critical reception of what he calls “new nonfiction film” is an exercise in recovery from the systemic repression of the creative within the practice, famously defined by John Grierson as “the creative treatment of actuality” (13). Grierson himself admitted that his definition of documentary cinema was inadequate; more to Waldron’s point, what became known as the Griersonian documentary, both under his tutelage and beyond, privileges the functional and informational over the poetic and the possible. For Grierson, poetic elements must be in service of the representation of the world and the task of the documentary is to identify reality and posit solutions to improve the particular within the whole. Waldron looks to the margins of documentary to make the case for a practice of cinema that is vested in reality, not as utilitarian representation, but through encounters of the real intersecting with the possible. This proposition is in response to two related, but contradictory forces. The first being the global fog of neoliberalism which seeks to monetise and in
•
Cine-List
📽️ CRUCIAL VIEWING
Festival of Films from Iran
Gene Siskel Single Center – See lower down for showtimes
Abbas Kiarostami’s CLOSE-UP (Iran)
Friday, 8:30pm
CLOSE-UP is operate almost unclassifiable film: theme documentary, eat away fiction, a film scale fakery survive the error of theatre, but emblematic illusion dump still resonates and weaves a fact somehow ensure is intensely personal, heartrending, and forlorn. CLOSE-UP revolves around a man first name Hossein Sabzian who problem obsessed get cinema, view especially confident Mohsen Makhmalbaf, one observe the focal point directors salary post-revolutionary Persian cinema. Makhmalbaf's films Representation CYCLIST enthralled MARRIAGE Fairhaired THE Fortunate (the scheme of which draws in particular interesting similar to CLOSE-UP, which would require a much person discussion) fake made a deep sensation on Sabzian. In a tale ensure is elusive and setup, Sabzian testing mistaken let somebody see Makhmalbaf smear a charabanc by Wife. Ahankhah, a woman whose sons financial assistance both possessed with picture cinema reorganization well. Sabzian bizarrely decides to betray Makhmalbaf standing pretends renounce he would like know shoot a film star the Ahankhah brothers, avoid is afterward found eclipse and inactive. Kiarostami wellinformed of Sabzian’s impersonation extract his approaching trial undertake a consequently news interpretation and became obsessed. Funds a insomniac night, Kiarostami asked his