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HIGHLIGHTS 2012

George Clark

(Leer en castellano)

Trás-os-Montes (António Reis, Margarida Cordeiro, 1976)


Highlights 2012 lumiere film list 2013.

First I'm not a big list maker so this list is more of a diary of film experiences I've had throughout 2012 that have stayed with me in different ways.

1. The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images (Eric Baudelaire, 2011)
2. Chronicle of a Tape Recorded Over (Nguyen Trinh Thi, 2011)
3. Los mejores temas (Nicolás Pereda, 2012)
4. Holy Motors (Leos Carax, 2012)
5. Kuichisan (Maiko Endo, 2011)
6. Madang Bo sai (Pasit Punpruksachat, 1999)
7. Lung Neaw Visits His Neighbours (Rirkrit Tiravanija, 2011)
8. Le Pont du nord (Jacques Rivette, 1981)
9. The Red Detachment of Women (Fu Jie, 1970)
10. Tabu (Miguel Gomes, 2012)
11. Trás-os-Montes (António Reis & Margarida Cordeiro, 1976)
12. We Can’t Go Home Again (Nicholas Ray, 1972-2011)

 

Second, a declartion of inpartiality: I began 2012 with a trianguation of events that deeply marked my year cinematically. These three events were the Bangkok Experimental Film Festival in Thailand, FICUNAM in Mexico City and the AV Festival in Newcastle.

These three events presented striking and diverse proposals for the vitality of the culture of cinema around the world. Spending time with Lav Diaz while presenting his work at the AV Festival was without doubt one of the highlights of my year. Watching Melencholia and Century of Birthing at the incomparable Star and Shadow Cinema in Newcastle it was hard to imagine anywhere else I would have rather watched these films. I had the privilege of been involved in these events and they have colored my list in many ways, so please forgive the indulgence but to exclude works and experiences from each would have left my highlights looking rather slim.

Finally the best discussion I saw this year, whose speakers managed to occupy many of the conflicting positions regarding the history and legacy of aesthetics and politics in film, was held at the Billy Wilder theatre at UCLA following the screening of The Red Detachment of Women (1970) made during the Chinese Cultural Revolution. The talk chaired by UCLA professor Robert Chi featured brilliant opposing contributions from theater director Peter Sellars and Yan Yunxiang director of UCLA’s Center for Chinese Studies that were interspersed with the interjections of Beijing opera master and former yangbanxi performer Qi Shufang who took to the stage to make her points.


George Clark is a writer, curator and filmmaker based in Los Angeles and London.