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If the words MONO NO AWARE (pronounced a-WAH-ré) sound strange to you, it may be because they come from the other side of the planet: it is Japanese (物の哀れ) referring to a connection with or a yearning for the ephemeral.

A Failure to Respond: On Ruth Beckermann’s The Waldheim Waltz

How did an ex-Nazi—a former intelligence lieutenant to be exact—manage to become Austria's 9th President?

Show Me Your Original Face: On Tsai Ming-liang’s Your Face

Framed in phone booths, freeways and supermarkets, a Tsai Ming-liang film gazes with moist, unblinking eyes at everyday life—the slightest glint directing us towards the curiosities that line it.

But Not For Always: Alice Rohrwacher’s Happy as Lazzaro

Alice Rohrwacher's third feature film opens at night, in a mess of muddy, 16mm darkness.

Deep Listening: Mary Helena Clark’s The Glass Note

Before anything for the eyes, the sounds of nature: birdsong, the wind in their homes. This audio continues when there appears some seconds later the image of a Caucasian figure in tight close-up, cropped harshly above the collarbones and below the chin.


The Brooklyn Rail

NOV 2018

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