Wednesday, January 28, 2026

At Rest, 2026

I think a person making a film should try not to control what it says, except on the level of dramatic pleasure. One should let things happen, through a kind of “écriture automatique.” A film is like a plant—you have to let it grow by itself, you have to respect that kind of biological rhythm.

- Alain Resnais


I had gone as far as Pennsylvania and Virginia to pitch my crazy dream. Yes, some people actually looked at me like that, a crazed artist with a lofty dream. A number of times, people would be whispering in giggles as I did video presentations in their homes or offices. Some even treated me like a beggar, giving me pocket money so that I would not bother them again. That was when I met Paul Tañedo, a Filipino photography artist in Alexandria, Virginia. He liked what he saw in the 16mm black and white footage and committed to support it. It was a simple talk over coffee very early in the morning. What hooked him were the black and white shots. Beautiful. Nothing beats 16mm black and white stock 7222. The grains and depths are fiercely powerful.

- Lav Diaz


Gambling, Gods and LSD (Peter Mettler, 2002)

Liverpool (Lisandro Alonso, 2008)

The Woman Who Left (Lav Diaz, 2016)





Wierzba's Subterranean Calgary Screening Room


Bill Fay, "Who is the Sender?"

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