DAILY | LOLA 2, Experimental Conversations 9

Chantal Akerman

Co-editors Adrian Martin and Girish Shambu have begun rolling out the second issue of LOLA, the online film journal they launched last summer. LOLA 2 (theme: “Devils”), dedicated to Raúl Ruiz and Gilbert Adair, opens with “Cinema is Another Life,” a speech Ruiz delivered in 2005, and Alexander García Düttmann‘s letter to his late friend, Adair. There’s also a solid special section on Chantal Akerman, “drawing,” as Girish notes at his blog, “upon material first published in German by the Viennale in late 2011 as part of their major Akerman retrospective. Unlike what we did with the debut, Adrian and I have now decided to release each issue of LOLA gradually: we’ve put up the first six pieces now—including the Akerman dossier—and we will proceed to add to the issue, usually a piece each week, for the next couple of months.”

The new Summer 2012 issue of Experimental Conversations features the first of a three-part “sort of encyclopedia of independent contemporary Thai art film,” Tom McCormack on James Fotopoulos, Maximilian Le Cain on Dean Kavanagh, “Irish cinema’s best-kept secret,” Fergus Daly on Walker and Walker’s Mount Analogue Revisited, Gianluca Pulsoni on Carmelo Bene, Santiago Rubín de Celis on Hiroshi Teshigahara’s Antonio Gaudí, David Brancaleone on the “Thin Line between Documentary and Fiction,” plus a handful of reviews.

More reading. Geoffrey O’Brien in the New York Review of Books on “The Sublime Horrors of Ridley Scott” and Budd Wilkins in Slant: “Rapes, Requiems, & Wreckers: Jean Rollin‘s Cinema.”

In the works. Ethan Hawke tells indieWIRE‘s Nigel M. Smith that his, Richard Linklater and Julie Delpy’s followup to Before Sunrise and Before Sunset will begin shooting in the summer.

Requiem for Detroit?

New York. “The urban America featured in [Sometimes Cities: Urban America Beyond NYC] is that which is often trivialized as ‘flyover,'” writes Nick Pinkerton in the Voice: “the deindustrialized industrial Midwest, cities whose manufacturing jobs and middle-class residents left, taking the tax base along with them, and leaving the downtowns to death by a thousand cutbacks.” The series runs through Sunday at Anthology Film Archives and Elise Nakhnikian, writing for the L, finds that Julien Temple’s 2010 Requiem for Detroit? “earns a D for originality, but I’d give it a B for presentation.”

Back in the Voice, Anthony Kaufman previews this year’s Human Rights Watch Film Festival, running today through June 28 at the Film Society of Lincoln Center.

Yesterday, the New Yorker‘s Richard Brody posted: “Dismaying news came in via email this morning from Aaron Hillis, the programmer who made ReRun Gastropub Theatre one of the city’s crucial venues for the release of independent films. He’s leaving his position there and adds that, at the end of the month, the theatre will be closed for renovation in view of ‘whatever its next incarnation will be.’ When I look through the list of movies I’ve reviewed since ReRun opened, in July, 2010, I note that many significant independent films débuted there, such as Frank V. Ross’s Audrey the Trainwreck, as well as Dustin Guy Defa’s Bad Fever, Robert Greene’s Fake It So Real, and Joe Swanberg’s Art History and Silver Bullets—movies of astonishing power that were, even more astonishingly, yet undistributed.” Regardless of what happens at ReRun, Aaron will be applying his mighty curatorial skills to his new endeavor, Video Free Brooklyn.

In other news. The Edinburgh International Film Festival has announced that Jim Broadbent will head up the three-member Michael Powell Competition Jury; he’ll be joined by Japanese actress Kiki Sugino and Tiina Lokk, founder and director of the Tallinn Black Nights Film Festival.

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