Grin Without News Today

Films by Chikako Yamashiro, Jun Nguyen-Hatsushiba, and Chris Marker. Guest-curated by Hallie Ayres.

Pera Film, in collaboration with Altyazı Sinema Journal, offers a curated selection of five films under the title Cinema Verite: The Truth of the...

This article will be released in full online June 5, 2023. In popular thought, the youth and student movements of France May 1968 have been linked with the…

If you want to learn how to blow up pipelines, you would do better to read about the movement to Defend the Atlanta Forest or the French struggle to stop construction of a massive water reservoir in Sainte-Soline (which has also featured sabotage emerging from the matrix of a mass movement), or the occupation of the town of Lützerath in Germany to stop the expansion of a coal mine, or the dozens of actions taking place monthly by land and water protectors in Mexico, to give only a few possi...

Ahead of the beginning of the 47th annual Toronto International Film Festival on Thursday (September 8), the Realscreen editorial staff were polled about the non-fiction films that they were most looking forward ...

The optimists went to the gas chambers (or so it’s been said). The pessimists went to America. The collabos went to Maxim’s (for steak). The orphans went to the country (for safekeeping). De Gaulle went to London. Pétain went to Vichy. Some (not that many) joined the Resistance. When the Allies landed, crowds flooded the […]

ZeroHedge - On a long enough timeline, the survival rate for everyone drops to zero

The late French filmmaker Chris Marker, who died in 2012 at the age of 91, was a pioneer of what some critics call the “essay film,” but he’s best known for his (perhaps) entirely fictional short, the seminal 1962 time-travel tale “La Jetée.” That less-than-a-half-hour movie is a massive influence on almost every sci-fi piece on time-travel since, not to mention a direct, credited inspiration for Terry Gilliam’s visionary feature “Twelve Monkeys.”  He never made another film l...

Marker’s experimental documentary, Sunless, was heralded by critics and admirers as a return to personal filmmaking after a decade of radical, collectively produced films. Ostensibly a documentary about Japanese culture, Sunless blasts apart the realist documentary tradition, continuing the radical aesthetic ideology of Vertovian cinema. Marker’s revival of Vertov’s montage techniques are used in this film to study the ontology of truth in documentary images and narrative films from the...