Memoirs of a Superfan, Vol. 5.4: Perfection
Beautiful memories stand out from a perfect weekend full of memorable films, friends, and events.
Critical articles, commentaries, analyses.
Beautiful memories stand out from a perfect weekend full of memorable films, friends, and events.
TODAY’S SPECIAL was on the menu, and as director David Kaplan said, the subtle message is that “today is special”. Awww, that’s as sweet as the desserts at the Opening Night Gala.
Gerry Balasta’s debut film THE MOUNTAIN THIEF uses a docu-fictional approach— rather than rely on professional actors, Balasta placed the task of dramatizing slum life into the hands of those who know it best: the actual residents of Patayas, one of the Philippines’ largest dumpsite “towns.”
Freida Mock’s films are full of hope and enthusiasm for the best of human possibilities. Look for her during her conversation with CAAM on Sunday, March 14th.
SFIAAFF 2010 is a forget-me-not and a valentine, sure to awaken our hearts and minds to the deep currents that move us all.
In examining the variety of classes offered at institutions around the nation, Tracy finds some valuable information about the trends, both changing and consistent, in Asian American Film education. A list of interesting factoids that will make you scratch your head.
What is the current state of Asian American film? And what exactly is Third Cinema? How do these two worlds intertwine? Alvin Shen reviews Ghostlife of Third Cinema, in which author Glen Mimura attempts to address these questions and more.
I’ve been thinking about the idea of suspicion lately. There is a lot to be wary about, and yet the idea of suspicion presents an infinite range of possibility – for the creation of counter-narratives and counter-cultures, for example. I would argue that there must be some slight inkling of suspicion that continues to motivate the work that CAAM does today.
By SFIAAFF Director Chi-hui Yang
The annual Robert Flaherty Film Seminar has for decades been one of the world’s most important and vital places to explore contemporary documentary and experimental cinema, and its 2009 edition offered no evidence to dispute this.