Matt Sussman

Apichatpong Weerasethakul on disasters and black magic

The quietly evocative director speaks
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Whereas David Lynch at times uses all the excesses of a bad rock video to give form to the dream logic that structures his films, Apichatpong "Joe" Weerasethakul creates quietly evocative reveries. Pierced by moments of sharp humor and unexpected beauty, Apichatpong's movies are imbued with a sense of openness, a responsive flexibility that allows their course to be redirected by serendipitous forces: a song, memories, folk tales. Read more »

SFIAAFF: These monsters are real

Soju, bad sex, and deja vu in the films of Hong Sang-soo
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"Even though it's difficult to be human, let's not turn into monsters." This is said as a reprimand to Gyung-soo (Kim Sang-kyung), a mildly successful stage actor, by one of his colleagues early in South Korean director Hong Sang-soo's Turning Gate (2002). Read more »

Axis power

Japanese kraut rock? Fujiya & Miyagi really aren't either
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It has been noted in the mostly laudatory press surrounding their collection of 10-inch EPs, Transparent Things (Tirk/Word and Sound), that Fujiya & Miyagi aren't Japanese. Nor are they a duo. Read more »

"Christmas on Earth" in February

Forbidden and Taboo
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The pull quote snagged by most critics from John Cameron Mitchell's Shortbus was Justin Bond's quip "It's like the '60s, only with less hope," delivered while surveying the myriad sexual couplings and groupings in his salon's back room. Bond's pithy line encapsulated the film's ideal of community through polymorphous perversity, even if that vision is tempered by an awareness of the initial sexual revolution's blind spots and a hangover from the 20 years of sexual-identity politicking in its wake. Read more »