Our annual winter support keeps the Rail independent, relevant, and free
Ive known Graham Swon (né Swindoll) for coming on 10 years now. We met slowly over the years, going in and out of repertory screenings in New York City35mm flickering in between the entrances and exits.
This past July a friend invited me to Spectacle Theater to see a screening of work entitled Sequence 01 by a traveling micro-cinema called NO EVIL EYE, which originated in Columbus, Ohio. According to the Spectacle description of the screening, they are a radical micro-cinema that aims to redefine the creative and social parameters of non-metropolitan film scenes.
For all the shifts in the festival landscape over the last year, the 72nd Locarno Film Festival proved far less of a departure than initially expected. With former festival head Carlo Chatrian and his programming team having moved to the Berlin Film Festival and the equally experimentally-minded Paolo Moretti now at the helm of Directors Fortnight in Cannes, the question was how these curatorial changes might affect the traditionally cutting-edge Swiss festival.
The process of identification is at the heart of Gilberto Perezs posthumously published book The Eloquent Screen: A Rhetoric of Film. Perez writes that audiences identify with more than characters, we identify with an action, a situation, an emotion, a motive, an interest, a point of view, something the character represents.