For this week's pair of writers, coping mechanisms including digging into the oeuvres of auteurs, from chronicler of the lonely American male Michael Mann to trailblazing Guadeloupean female filmmaker and activist Sarah Maldoror.
Doc Films did not just allow us to access film history; it allowed us to express, in however humble a fashion, our own place within it and within contemporary film culture, one that only lives as a social endeavor carried out and fulfilled in a collective space.
For Eborn, the focus of Transnistra is more personal than political. “My work begins next to the character,” she said. “There’s a world around them that’s potent, it’s alive somehow. The inspiration comes from this person.”
"Discovering how much critical documentation of the occupation existed from very early on led me to the understanding that to try to approach this question I shouldn’t necessarily be looking only at the media or the makers of it, but rather at the eyes that see that media."
The need for the geometric sublimity of music leads two critics to two very different musical movie experiences.