The film side of Canadian Artists ’68—an open competition that started with 120 entries and ended with 20 finalists and four prizewinners dividing $6,000— leaves strong impressions, stronger say than those of Secret Ceremony or the latest film featuring acting by a one-movie nymphet whose playing of a little girl parasite (Zita, Joanna, or Cenci) is being memorialized at this moment in Sunday supplements by Rex Reed or Guy Flatley.
Some of these impressions would obviously include (1) an austere “Loft To Let” space overlooking Canal Street in Manhattan, which is examined for 45 minutes in Michael Snow’s Wavelength as no room ever has been, outside of Vermeer paintings, (2) the nasty blankness of a prefab room in Clarke Mackey’s On Nothing Days and the poignantly dispirited way the lacklustre teenager walks to the window and stares at a scene of children jumping rope—as though he were going through a tunnel that stretched across seventeen cheerless years,...
Some of these impressions would obviously include (1) an austere “Loft To Let” space overlooking Canal Street in Manhattan, which is examined for 45 minutes in Michael Snow’s Wavelength as no room ever has been, outside of Vermeer paintings, (2) the nasty blankness of a prefab room in Clarke Mackey’s On Nothing Days and the poignantly dispirited way the lacklustre teenager walks to the window and stares at a scene of children jumping rope—as though he were going through a tunnel that stretched across seventeen cheerless years,...
- 12/7/2009
- MUBI
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