Daily | Goings On | LA Rebellion, Polish Cinema

Lizzie Borden's 'Born in Flames' (1983)

Lizzie Borden’s ‘Born in Flames’ (1983)

Posted an entry on events happening here and there a few days ago and, of course, we carry on updating the entries on Art of the Real and the Tsai Ming-liang retrospective. And a little over a week ago now, we presented a mini-roundup on Space Is the Place: Afrofuturism on Film, running at BAMcinématek in New York through Wednesday. Now Jeremy Polacek has more at Hyperallergic: “Blackness as alienness, science-fiction as black realities, Afrofuturism tunnels through race, music, art, science, and history, holding that life, especially black life, is a fantastical paradox: fixed, changeable, and transcendent.”

Tomorrow at MoMA: An Evening With Luther Price.

London. LA Rebellion: Creating a New Black Cinema is on at the Tate Modern through April 25. For the Guardian, Ashley Clark talks with Julie Dash (Daughters of the Dust, 1991): “We were the broke nerds wearing $2 jelly shoes because we put all our money into filmmaking.”

Clark notes that the films made in the late 60s and early 70s by Dash, Charles Burnett, Haile Gerima and others “came out of a consciousness of anti-Vietnam and black-lib struggles, and were forged in solidarity with anti-colonial movements from around the world, such as Brazil’s Cinema Novo and the Argentinian Grupo Cine Liberación. The irony was, of course, that this hotbed of unorthodox movie-making was situated 15 miles from Hollywood’s dream factory—the ‘belly of the beast,’ as Dash dubs it.”

For the Quietus, Paul Risker has an overview of Kinoteka, the 13th Polish Film Festival, on through May 29. There’s a lot to cover, but he takes a few tips from critic and filmmaker Kuba Mikurda: “If you appreciated the stark, black and white images of Paweł Pawlikowski‘s Ida, you will love early films by Wajda, Kawalerowicz or Konwicki. Their framing, composition, camera movement are simply stunning. It’s pure visual poetry, with faces, objects and spaces perfectly sculpted with light and shadow. I strongly recommend films shot by one of the legends of Polish cinematography, Jerzy Wójcik: Ashes and Diamonds, Eroica, Mother Joan of Angels, Pharaoh. As Wójcik has put it: ‘for me light in cinema is both about contemporary physics and mysticism.’”

Barcelona. Starting tomorrow, Filmoteca de Catalunya presents an Alain Resnais retrospective that runs through April 30.

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