TV vs. Cinema by Jean-Luc Godard

La télévision fabrique de l’oubli. Le cinéma fabrique des souvenirs.

Jean-Luc Godard

France Jean-Luc Godard

The Author Vassilis Economou

Freelance film critic and hardcore cinephile.

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REVIEWS

Kreditis Limiti (Line of Credit) – Venice 71 Orizzonti

Salomé Alexi is dealing with the sensitive issue of financial crisis in the post-Soviet Georgian society seen from a female point of view.

Viharsarok (Land of Storms) – Sarajevo 20

A deeply emotional and visually impressive drama by Ádám Császi, that exposes the issue of homophobia in modern day Hungary.

Zvizdan (The High Sun) – Thessaloniki 56 Balkan Survey

Dalibor Matanić makes a different post-traumatic approach of the Yugoslav wars as love has to stand in front of any inter-ethnic conflicts.

Mary is Happy, Mary is Happy – Venice 70 Biennale College

Nawapol Thamrongrattanarit creates a truly innovative experimental films set in our digital world. What could happen if a Twitter account feed becomes real?

Ja Tozhe Hochu (Me Too) – Venice 69 Orizzonti

Alexei Balabanov's last and most personal film. An adaptation on Tarkovsky's Stalker myth set in Balabanov's provocative world.

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The Author Vassilis Economou

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Kreditis Limiti (Line of Credit) – Venice 71 Orizzonti

Viharsarok (Land of Storms) – Sarajevo 20

Zvizdan (The High Sun) – Thessaloniki 56 Balkan Survey

Mary is Happy, Mary is Happy – Venice 70 Biennale College

Ja Tozhe Hochu (Me Too) – Venice 69 Orizzonti

André Bazin: The Ontology of the Photographic Image

Roberto Rossellini: Camera’s a ballpoint pen

Grandrieux on his films

Biće Skoro Propast Sveta (It Rains in My Village, 1968)

Cœur Fidèle vs. Boy Meets Girl

TV vs. Cinema by Jean-Luc Godard

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The Author Vassilis Economou

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