Chris Stults

  • View of “Deborah Stratman,” 2014.

    Deborah Stratman

    United primarily by an inquisitive approach that fuses the heart of a poet with the mind of a scientist, artist and filmmaker Deborah Stratman’s works engage a staggering range of concerns, geographies, and forms. The dominant impulse underlying her practice is a desire to reach an understanding of a subject, whether it is an astronomical phenomenon—the comets of . . . These Blazeing Starrs!, 2011, for example—or an ontological condition, such as freedom (O’er the Land, 2009). Some questions are, of course, unanswerable, and Stratman’s research rarely results in resolution. For the

  • Eduardo Coutinho, Cabra marcado para morrer (Twenty Years Later), 1964–84, 35 mm, black-and-white and color, sound, 119 minutes.

    Chris Stults

    TALKING IS AN UNLIMITED RESOURCE; the ability to listen is always in short supply. The tragic murder of the Brazilian documentarian Eduardo Coutinho (1933–2014) this past February took from us one of cinema’s greatest listeners. Although he was born in São Paulo and shot his most renowned film—Cabra marcado para morrer (Man Marked to Die, 1964–84), released in the anglophone world as Twenty Years Later—in Brazil’s rural northeast, he spent much of his career eliciting and recording in film and video the thoughts and attitudes of a wide spectrum of Cariocas, as the residents of his