After months of having to bite my tongue, I'm finally able to reveal that this year's City to City program at TIFF will feature the films and filmmakers of Buenos Aires, Argentina.
Buenos Aires is a hotbed of filmmaking, with a new generation influenced by the Argentine New Wave of the early 2000s -- filmmakers such as Lucrecia Martel, Lisandro Alonso, Pablo Trapero (whose Crane World is a personal fave) -- but making their Bs As cinema very much their own. We will announce specific titles in August, after what will surely be months of hard decisions ahead of us (and a trip to the BAFICI festival in April.)
Read more in the press release on TIFF's site.
Tuesday, February 8, 2011
Monday, January 10, 2011
Hello loyal readers (reader?)! This is becoming (so sadly), the only thing I post on this blog, but I wanted to mention that a journal article loooong in fruition* has recently seen the publication light of day.
(*Especially so, if you consider that it grew out of a paper I wrote for a graduate architecture seminar in 2003.)
The article is ponderously titled "Spectacular Paris: Representations of Nostalgia and Desire," and it appears in the journal Paroles Gelées (vol. 26 no. 1), available online here. It's kind of a favourite piece of mine: a mobilization of theories including Guy Debord's work in Society of the Spectacle to interrogate the (near)coincident opening of the Paris Las Vegas resort and casino and the release of Baz Luhrmann's Moulin Rouge and Jean-Pierre Jeunet's Amélie, all in short succession around the turn of the millennium. Lots of meaty discussion of illusion, false vacations and, naturally, the spectacle. Both films discussed play a big role in chapter 5 of my diss, so it's nice to see some of my ongoing analysis in this vein see the light of day. Sort of a preview of things to come. Soon.
[Image from Moulin Rouge, dir Baz Luhrmann, 2001]