PRINT December 2015


James Quandt

Manoel de Oliveira, Visita ou memórias e confissões (Visit, or Memories and Confessions), 1982/2015, 35 mm, color, sound, 68 minutes.

1 LABOUR IN A SINGLE SHOT (Harun Farocki and Antje Ehmann) Farocki’s stirring final testament offered the Venice Biennale’s most moving moment, a two-minute masterpiece by Nguyen Trinh Thi in which a massive block of ice makes its way onto a little boy’s bike on a rainy Hanoi night.

2 VISIT, OR MEMORIES AND CONFESSIONS (Manoel de Oliveira) An equally poignant filmic will, made in 1982 and then withheld until after the director’s death, Visit winds past and future into a Marker-like whorl.

3 BLEAK STREET (Arturo Ripstein) The Mexican maestro of prole baroquerie peoples his squalid via dolorosa with the desperate and dissolute, extending sympathy to all.

4 SINGULARITY (Albert Serra) Pulling myself away from Serra’s engrossing epic, a Fassbinderian five-screen installation about gold, drones, and scheming bawds, before its twelve hours had transpired felt heretical.


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