Ken Jacobs. Photo by María Meseguer.This past June in A Coruña, Spain (S8) 6th Mostra de Cinema Periferico hosted a retrospective of Ken Jacobs. A legend of experimental filmmaking, this New Yorker gave a master-class about the influence of abstract paintings on his work, presented a broad selection of films in his filmography to the audience, and premiered New Paintings by Ken Jacobs (2015), a new film performance using his famous Nervous Magic Lantern, consisting of a series of abstract slides that he projects with a special device of his own creation. The program focused on Jacobs’ first films, close to a kind of Brakhage-like documentary style, the long series he made along with Jack Smith as an actor/performer, and his experiments with 3D, both in film and digital formats. After all these screenings, we had a coffee or two with him and talked about the films in the program.
- 6/30/2015
- by Víctor Paz Morandeira
- MUBI
Discredited by its current usage as spectacular entertainment in roller coaster summer blockbusters, 3D technology has only recently explored its potential for cinematic storytelling. How intriguing that its most effective use to date has been, arguably, in documentaries. As if to prove Rupert Sheldrake's theory of morphic resonances, approximately at the same time that Werner Herzog offered audiences a chance to experience the glistening Chauvet Cave—heretofore off limits—Wim Wenders applied 3D technology to reveal the intimate cadances of dance theater in his evocative and justly-lauded tribute to German choreographer Pina Bausch. Whether Wenders' Pina and Herzog's Cave of Forgotten Dreams can indeed be squared off as "apples and oranges" (per David Hudson), there is no question that 2011 marks the shift from 3D's adolescence into the first sure signs of maturity.
Hudson has, of course, rounded up the chorus of reviews post-Berlinale, from the New York Film Festival,...
Hudson has, of course, rounded up the chorus of reviews post-Berlinale, from the New York Film Festival,...
- 1/10/2012
- MUBI
Ken Russell, who has died aged 84, was so often called rude names – the wild man of British cinema, the apostle of excess, the oldest angry young man in the business – that he gave up denying it all quite early in his career. Indeed, he often seemed to court the very publicity that emphasised only the crudest assessment of his work. He gave the impression that he cared not a damn. Those who knew him better, however, knew that he did. Underneath all the showbiz bluster, he was an old softie. Or, perhaps as accurately, a talented boy who never quite grew up.
It has, of course, to be said that he was capable of almost any enormity in the careless rapture he brought to making his films. He could be dreadfully cruel to his undoubted talent,...
It has, of course, to be said that he was capable of almost any enormity in the careless rapture he brought to making his films. He could be dreadfully cruel to his undoubted talent,...
- 11/28/2011
- by Derek Malcolm
- The Guardian - Film News
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