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Filtering by Category: film

On Revenge and Tragedy in Cinema and Life


Is life dramatic or tragic? Internationally acclaimed and award-winning Portuguese director Pedro Costa talks to four by three magazine about the nature of reality, ethics, the responsibility of an artist, his working unique methods, time and death, tragedy and drama, music and sound and the importance of criticism.

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Death 24 x a Second


Has cinema died? British film theorist and avant-garde filmmaker Laura Mulvey talks to four by three magazine about the ontological shift from celluloid to digital, reality, temporality and truth, addressing how film is caught between stillness and movement and how death is ingrained in the materiality of film.

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The Proximity of Life & Death


Where do you put the camera to get a glimpse of our imminent extinction? Critically-acclaimed Romanian director Cristi Puiu talks to four by three magazine about cinema as entertainment and art, the responsibility of an artist, reality and fiction, truth and being, his fascination with death and Albert Camus, asking what makes life worth living?

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The Singularity of I, Daniel Blake


Can death signify in its singularity or is it always entrenched in a political context? Toby Bull examines Ken Loach’s Palme d’Or winning film I, Daniel Blake in the light of its political setting and contrasts Blake’s death with Gianfranco Rosi’s Gold Bear winning Fire at Sea, a documentary about the mass death of European migrant.

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Years that Passed & Years to Come


How do you succeed as a filmmaker, despite the increasing challenges? Award-winning British director Joanna Hogg talks to four by three magazine about her films and collective A Nos Amours, the fascination and fallibility of memory, artistic inspiration and expression and the importance of cinema.

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A Moment of Innocence and Rebellion


Is cinema saturated with the wrong intentions? Iranian filmmaker, writer and human right activist Mohsen Makhmalbaf talked to four by three about the purpose of cinema, how it relates to art, politics and philosophy, while recounting his collaboration with Abbas Kiarostami on Close-Up and the continuous censorship he is subject to.

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Cemetery of Silence


Can artistic expression flourish under censorship? Or is the freedom of speech essential for creativity? Acclaimed Thai director Apichatpong Weerasethakul talks to four by three about the medium of film, questions concerning time and how these relate to Buddhism and what cinema teaches us about perception, dreams, death, Plato’s cave and reality.

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Minimalism’s Radical Quiet: Chantal Akerman’s Jeanne Dielman


Have we sacrificed noise for silence? Emilija Talijan turns to Chantal Akerman’s famous work Jeanne Dielman, in order to re-consider Akerman’s formal minimalism not in terms of silence as a 'violence to being', but in terms of noise and rhythm as a compensation for the failure of language, asking what feminist statement can be realised through these modes of presence?

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The Silent God of Ingmar Bergman and Andrei Tarkovsky


Is silence torture or transcendence? Film scholar Phoebe Pua examines the presence of metaphysical silence in the cinemas of the two great auteurs Ingmar Bergman and Andrei Tarkovsky. Foregrounding essential similarities and differences, Phoebe explores the complex duality of silence and asks whether silence is intrinsically empty or expressive.

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Son of Saul


When do we reach the limits of representability, freedom and language? Christine Jakobson turns to László Nemes’ debut film Son of Saul, which won him the Grand Prix at Cannes and best foreign language film at the Oscars, challenging questions concerning identity, while confronting the liminality between possibility and impossibility, individuality and universality.

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Treatise on the Human Condition


What does it mean to be human and is art able to capture it? Award-winning Swedish director Roy Andersson talks to four by three about his Living Trilogy, contemporary cinema, the relationship between aesthetics and ethics, the frailty of the human condition, while addressing the purpose of art and cinema.

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The Anti-Nihilism of Kubrick and Haneke


Are the films of Stanley Kubrick and Michael Haneke entrenched in nihilism? Kevin Stoehr looks at both directors through the lens of Friedrich Nietzsche's philosophy, illustrating just how much we misunderstand these great directors if we don't acknowledge their rejection of nihilism's negative orientation.

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The Club


How do you depict religious abuse and guilt in the aesthetic context of cinema? Director Pablo Larraín talks to four by three about his latest film The Club, winner of the Grand Jury Prize at Berlinale 2015, the ethical complexity of theological rationale, the responsibility of filmmakers and the violence of our own consciousness.

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