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At the International Documentary Film Festival of Amsterdam, a meeting point for film and market folk from all over the world, plethora is celebrated, diversity warranted and options encouraged. While the breadth of its program offers a maze into which one may easily find oneself lost in a state of indifference, I quickly arrived at the point where my actual work as a critical spectator began, the digging for gold.
The picturesque wonders of Berwick-upon-Tweed trespassed into the liminal space of memory and virtuality this year as the 16th edition of Berwick Film and Media Arts Festival took place entirely online.
Dutch visual artist Henri Plaats 8mm and 16mm films, influenced by his memories of World War II and contemporaneous newsreels, playfully examine the persistence of the past within the present.
Unlike other festivals opting to toss films into a pool of sameness and replete of curatorial context, International Film Festival Rotterdams curated precision was kept intact, preserving the festivals distinct relevance as a harbor for innovative moving image work.
In a festival where a major part of the lineup consists of the newest restorations of Old Hollywood filmmaking, recent editions of Il Cinema Ritrovato in Bologna have been marked by a refreshing turn towards lesser known cinemas and film industries that are no less interesting.
Drawing ideas from paintings, books, films, and audio recordings, along with poetry and music, Colburn and O'Neill share a common interest in collecting and recycling materials, often reusing them across multiple mediums, in performances and multi-channel installations, drawings, sculptures, and assemblages.
Berwick-upon-Tweed is a visual heaven. Nestled down the railway from Edinburgh on the coast of Northumbria, this border town has changed allegiances between Scotland and England many times.
This admittedly rather long title announces an upcoming survey of Dutch experimental filmmaking to be showcased at the Austrian Filmmuseum in June