By Ray Pride Pride@moviecitynews.com

Bilge Ebiri Likes Song To Song

Song to Song continues the mosaic-like stylization of To the Wonder and Knight of Cups — an indulgence that has turned much of the critical establishment off to Malick. But it takes it in new directions, too. To the Wonder was effectively a dance performance in which characters’ movements revealed their relationships and emotions; Knight of Cups was a debauched fantasia in which the bizarre, rapidfire progression of images and sounds and bodies mimicked the protagonist’s intoxicated, alienated mental state. Song to Song in some ways stands as the most earnest and optimistic of the three films, for here the focus is on the derangement of love, on how the literal imbalance and freefall of passion eventually turn into the equilibrium of constancy.”
~ Bilge Ebiri Likes Song To Song

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“It would be difficult to find something made by a human being that isn’t pregnant with a vision of the world. Likely impossible. It’s inherent to existence. It turns out that world visions can coincide with a certain hegemonic idea of what the world is —or not. It’s like when they say that “indie cinema” is intellectual, simply because it does not coincide with a narrative system the industry legitimates. But the industry is as intellectual as ‘indie’ movies. The difference is that one affirms reality, doesn’t call it into question. And not all ‘art movies’ are after that. You’ve got to call reality into doubt. Or better yet, I’d say you’ve got to be suspicious of reality. Because if you’re not, there’s no possible transformation. Every one of us who has done cinema —to speak just of moviemaking— has contributed our perspectives to a vision of the world. A community needs that —lots of perspectives. There will be times when some are valued more than others. But the really important thing is that a lot of different visions coexist. The big task is to facilitate that variety.”
~ Lucrecia Martel

“It’s a film festival’s job—and increasingly so—to create moments of recognition, of enjoyment, of shock, of learning. Not of consumerism. Not of implementing cultural policy. But moments without pretence, unclouded by vested interests, by intervention, by cynicism, by everyday business. Committed to nothing but the thing itself. Under obligation to nothing, to no one, not even to the filmmakers themselves. To basically seek access to a form that does not yet exist, a place no one has been to, a time that has not yet come. ’A form that thinks, and a thought that forms,’ as Jean-Luc Godard has it.”
~ Hans Hurch, late director of the Viennale