Film, 86 mins, 2012. Directed by Marc Silver. Canadian Premiere at Hot Docs, Toronto 27 April 2013. —Review by Amber Landgraff
When I slip Nadim Mishlawi’s Sector Zero DVD from its sleeve, my heart is already in my throat. I am expecting to be hurt by these pictures from Lebanon, and the cruel accident of this country’s geography, but from the very opening images I am assured that beauty will be a regular accompaniment. — Mike Hoolboom
Alexander Kluge’s News From Ideological Antiquity: Marx – Eisenstein – Das Kapital was released in 2008, a few months before the banking crisis in the United States sounded the death knell for the neoliberal view that history has come to an end. —Marc James Léger
Independent filmmaker Angad Singh Bhalla’s Herman’s House had its Canadian premiere at this year’s Hot Docs Festival in Toronto. The film traces the relationship between artist Jackie Sumell and political prisoner Herman Wallace, who has been held in solitary confinement for the past four decades, longer than anyone else in the United States. —Nahed Mansour and Konstantin Kilibarda
This issue of FUSE connects the politics of identity, food and representation.
Let the fireworks begin! Donna Scott’s recent announcement of resignation from the Ontario Arts Council might yet be a good thing for the arts in Ontario. If Bronwyn Drainie’s recent criticism of Hal Jackman’s matching grants program is any indication, we might yet see a renewed public debate about the arts, a debate that moves beyond the immediate arts community.
Last summer, before the events of September 11, Francis Coppola’s famous film about the Vietnam war, Apocalypse Now, was re-released. Despite its confused and often offensive politics, the film has a quality that is rare among American war pictures. This is not simply because it is a war film played as a horror movie. It is that what we fear throughout the film is not so much what will happen to the central characters, but what terrible things they might do and become.
Film curation and exhibition necessarily become essayistic practices, critical programs in poetic dialogue with social reality. While history offers innumerable instances in which the imperialist impulse of commercial film distribution and exhibition has used the developing world as grist for its mill… —Aliza Ma