Burning
Tesnota
First Man
Transit (Christian Petzold over)
Living the Light — Robby Müller (Claire Pijman over)
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The Thinking Machine 15: At That Very Moment

At the very same moment, two women are caught in a waking dream, and their adventures intertwine... In cinema, the genres of horror and the “woman in peril” thriller have frequently overlapped to form a Female Gothic tradition. This impulse goes back a long way. Within a year of each other, F.W. Murnau’s classic Nosferatu (1922) conjured a dark web of (female) desire and fear (of the male) that also appealed, albeit in a different key, to Germaine Dulac for her surrealistic “comedy of bourgeois manners”, The Smiling Madame Beudet (1923).

Cristina Álvarez Lopez & Adrian Martin



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The Thinking Machine 22: The Dressmaker and the Cook

The Thinking Machine 22: The Dressmaker and the Cook
14 September 2018
Adapting a perceptive review in Positif by Alain Masson, this audiovisual essay looks into the intimate mystery and artistry of Phantom Thread.
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The Thinking Machine 21: The Gauntlet

The Thinking Machine 21: The Gauntlet
14 Augustus 2018
Alfred Hitchcock's Notorious (1946) has its big, classic moments, but its total texture is woven from a thousand smaller movements, exchanges and perceptions, as this audiovisual essay shows.
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The Thinking Machine 20: A Carnival of Souls

The Thinking Machine 20: A Carnival of Souls
24 Juli 2018
Cléo from 5 to 7 by Agnès Varda and Strop (Ceiling) by Vera Chytilová were both made in 1962; the former is very well-known, the latter far less so, but both these movies still seem, today, at the vanguard of women's cinema.
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The Thinking Machine 19: Series of Dreams Interwoven by Ringing Bells

The Thinking Machine 19: Series of Dreams Interwoven by Ringing Bells
30 Mei 2018
The ringing of bells traces a hypnotic, musical landscape that, in its rich tonal and harmonic variety, immerses us and calls us to dream, to float above the fictional cinematic worlds. This "series of dreams" interweaves fragments from films by Andrei Tarkovsky, Ingmar Bergman, Robert Bresson, Luis Buñuel and Sergei Parajanov.
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The Thinking Machine 18: Swimming in Wagner

The Thinking Machine 18: Swimming in Wagner
26 April 2018
Luis Buñuel's L'âge d'or (1930), Jean Negulesco's Humoresque (1946) and João César Monteiro's A comédia de Deus (1995) all feature, in key, climactic sequences, the same piece of music: a well-known, grandly romantic theme from Tristan and Isolde by Richard Wagner.
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The Thinking Machine 17: Remarks on the Formation of Abstract Set Theory

The Thinking Machine 17: Remarks on the Formation of Abstract Set Theory
04 April 2018
There is a famous, prolonged heist sequence at the centre of Jean-Pierre Melville’s Le Cercle Rouge (1970) – but not at the centre of this month's audiovisual essay by Cristina Álvarez López and Adrian Martin.
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The Thinking Machine 16: UP!

The Thinking Machine 16: UP!
08 Maart 2018
Suicide – cannibalism – death – trauma – remembering – flashing back – vignette – whiteness – voices – bones – blood – sexual personae – up those streets – up those stairs – a scream.
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The Thinking Machine 15: At That Very Moment

The Thinking Machine 15: At That Very Moment
17 Januari 2018
At the very same moment, two women are caught in a waking dream, and their adventures intertwine... In cinema, the genres of horror and the “woman in peril” thriller have frequently overlapped to form a Female Gothic tradition.
>> Lees verder

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The Thinking Machine 14: Moon, Waterfall, Tree, Stream

The Thinking Machine 14: Moon, Waterfall, Tree, Stream
20 December 2017
There are many examples of “condensed” films in the history of experimental, found-footage cinema – selections that concentrate what is surreal and suggestive, once most of a narrative is removed. Without excessive manipulation, we radically condense an example, A Fatal Obsession (2015), in which recurring, moody images of nature – moon, waterfall, tree, stream – already, with the aid of a busy music score, usurp the tricky, human plot.
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The Thinking Machine 13: Between Two Plot Points

The Thinking Machine 13: Between Two Plot Points
08 November 2017
How did Howard Haweks manage to balance easy-going scenes of character interaction and a plot without any 'dead spots'? A superbly directed scene in Ball of Fire (1941), where a complex group interaction is poised between two plot points, provides some clues.
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