Keyword : Festival New Media
An overview of the short film programs at the Festival Nouveau Cinéma 2009.
An analysis of the formalist experimentation in gialli lexicon, Amer.
An interview with the co-directors, co-writers of the fascinating Belgian-France co-production, Amer, Hélène Cattet et Bruno Forzani.
A report on the FCN 2008 film festival concentrating on films that depict the city.
An interview with young filmmaker Julia Loktev on her controversial film about a female suicide bomber, Day Night Day Night.
A report on the 2006 edition of the Festival of New Cinema in Montreal, with a preamble on the etiquette of big theatre experience in the era of the multiplex experience.
An essay on Hakan Sahin's first two features, Mirror and Snow, studies on the psychological effects of living in geographical isolation.
A recurring element that struck me during the 2002 Festival International Nouveau Cinéma Nouveaux Medias’ and which I have decided to use as my anchor for this report, is the fragmented narrative, and/or the anthology or omnibus format. Many films at the FCMM were structured using this time honored tradition. Films covered in this report include 11’09’’01, Ten, Gambling, Gods and LSD, Dolls, and Elsewhere.
While lamenting the FCMM's decision to eliminate live performances (at least for this year), Randolph Jordan points to the short film as the one area where the FCMM continues its cutting edge, innovative programming.
Randolph Jordan relies equally on his 'eyes' and 'ears' as he concentrates on the often overlooked juxtaposition of sound and image, a dialectic that is becoming an increasingly important part of Montreal's FCMM Festival International Nouveau Cinéma et Nouveaux Médias.
Part two of Randolph Jordan's coverage of Montreal's FCMM Festival International Nouveau Cinéma et Nouveaux Médias.
Another edition of the FCMM has come and gone, and I can not remember an edition which featured as many programmers and organizers brimming with perennial smiles.
The 28th International Festival of New Cinema and New Media set the marker posts on the route to the future. This one festival comprises two very separate events that –for the moment– have little to do with each other.
The continual blur of Montreal Film festivals does not allow the seasoned filmgoer much chance to breathe, let alone contemplate each individual festival within the city’s cinematic global whole.
In its 27th version, the International Festival of New Films / New Media in Montreal took a leap forward by returning to its roots. In shifting focus from the carnival-like elements that have predominated since the festival's move to a summer venue and back to the programming, the festival again filled its important niche on the Montreal festival landscape.
Lech Majewski, writer/director of The Roes' Room, calls his film an “autobiographical film opera”. A writer and director of opera as well as of film, Majewski composed the music and libretto that provide the text of the film.
The latest incarnation of the Festival of New Cinema and New Media (FCMM) runs from October 15 to 25 and seems to be another attempt at redefining itself.
In “Asian potpourri”, the adventurous reader will find a series of loosely connected reviews of films from Iran (from this past year's Festival of International Cinema and New Media) and Central Asia.
In a John Ford film, death is inevitably followed by birth in order to propel the reaffirming, regenerating life-cycle; likewise, the same week that saw the death of two cinema icons, Jimmy Stewart and Robert Mitchum, sees the flagship issue of Offscreen.
After ten plus days of hectic film/video and moving image viewing, the FCMM is over, leaving a year void to be filled in by other film festivals. The point, however, is that none of the other festivals are going to be anything like this one.
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