Peter Strickland's Berberian Sound Studio (2012) and The Duke of Burgundy (2014) are showing in June and July, 2019 on Mubi in the United Kingdom.“…if the film or television image seems to ‘speak’ for itself, it is actually a ventriloquist’s speech.”—Michel Chion, Audio-Vision, 1990In an early scene in The Duke of Burgundy, a character describes how one can tell two seemingly-identical species of butterfly apart by the sound each makes, saying, “Since these species are so visually indistinguishable from each other, the sound they produce should differentiate the two.” In a way, the statement provides a thesis for much of the cinema of Peter Strickland relative to his aesthetic forebears. According to the majority of film writing that takes either of his two features Berberian Sound Studio or The Duke of Burgundy as a subject, Strickland’s oeuvre owes something to European genre cinema—more popularly known in French...
- 7/11/2019
- MUBI
How does one live when one has nothing? How should one live when one has everything? These are the questions South Korean director Hyung-Suk Jung poses to us in his second narrative feature.
“The Land of Seonghye” is screening at San Diego Asian Film Festival (Sdaff)
The titular character Seonghye is in her late twenties. She lives from hand to mouth. Without a full-time job, she can only survive by working odd jobs here and there. She tries to “invest” herself, like everyone else does, but the effort seems pointless.
The oppressive economic condition constitutes the land Seonghye inhabits. Throughout its running time, the film meticulously shows us how this condition impacts Seonghye and others’ lives. Characters move in and out of the frame relatively freely throughout the film. They are not in a Hitchcock or Fincher’s world where the characters must obey the convoluted webs of significance weaved by the auteur.
“The Land of Seonghye” is screening at San Diego Asian Film Festival (Sdaff)
The titular character Seonghye is in her late twenties. She lives from hand to mouth. Without a full-time job, she can only survive by working odd jobs here and there. She tries to “invest” herself, like everyone else does, but the effort seems pointless.
The oppressive economic condition constitutes the land Seonghye inhabits. Throughout its running time, the film meticulously shows us how this condition impacts Seonghye and others’ lives. Characters move in and out of the frame relatively freely throughout the film. They are not in a Hitchcock or Fincher’s world where the characters must obey the convoluted webs of significance weaved by the auteur.
- 11/10/2018
- by I-Lin Liu
- AsianMoviePulse
Two things shape my Sundance coverage this year — one purely personal, the other macro. The personal was recently reading Christian Metz’s Film Language, the kind of text normally consumed in undergrad cinema studies (not my major) but belatedly a worthwhile book all the same; I wanted some new tools to think about movies, and this fit the bill. The opening essays are recognizably Barthes-ian contemplations of i.e. what makes the moving image more plausible than a still image and the middle gets mired in a lot of precise definitions of paradigmatic vs. syntagmatic, but the finale is a surprisingly fiery, […]...
- 1/19/2018
- by Vadim Rizov
- Filmmaker Magazine - Blog
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