‘The Tsugua Diaries’: Miguel Gomes & Maureen Fazendeiro Deconstruct Filmmaking In A Meta-Arthouse ‘Tenet’ [NYFF Review]

‘The Tsugua Diaries’: Miguel Gomes & Maureen Fazendeiro Deconstruct Filmmaking In A Meta-Arthouse ‘Tenet’  [NYFF Review]
Unfolding like an arthouse version of that joke about what you get when you play a country song backward, Miguel Gomes and Maureen Fazendeiro’s “The Tsugua Diaries” chronicles a fictional 2020 film shoot abandoned due to a Covid protocol breach, in a backward-running narrative. An opening title card reads “Day 22,” and, eventually, a sequence at a time, “The Tsugua Diaries” rewinds to Day 1, the film-within-the-film gets its sound guy back, gets its permits back, and its shared sense of artistic purpose returns…

Read More: New York Film Festival 2021: The 17 Most Anticipated Films

With its inward-turned focus and quasi-incestuous relationships, every film shoot is a “bubble” to use the era-appropriate term.

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