Editor’s note: This piece is part of a series on the 2019 Taipei Literature Film Festival.
The German fascists are taking Europe by force. Cities are closed off and raids are carried out block by block. If you disagree with the new regime or don’t have your papers in order, your best bet is to get yourself to Latin America (the US doesn’t want you), but with no flights, you’ll need a ship ticket, and transit visas for each place the ship stops en route. That entails long lines at various consulates, all while the number of ships at port dwindles one by one. Welcome to present-day France.
Continue reading “Love in a Fallen City: Transit (2018)”
Editor’s note: This piece is on the 2019 Urban Nomad Film Festival, and it benefits from two post-screening Q&As, and a subsequent panel discussion of which I was a part.
The question of the power of art is an ancient one. Confucius said, “If you do not study the Songs, you will be at a loss as to what to say.” And Plato had such a powerful view of the performing arts that he banned all poet-singers from his ideal Republic for fear their work would override people’s reason. But under the utilitarian logic of our contemporary neoliberal society, the question “What does art do?” has been reduced to a mere shadow of its storied history: “What can art do?” Writer-director Patrick Wang’s A Bread Factory (2018), four hours split right down the middle into two parts, ambitiously attempts to answer this question, not intellectually with auteur-surrogate characters spouting exposition, but performatively and cinematically, juxtaposing the contrast between bean-counting life and expansive humanist living in almost every one of its vignette-like scenes. Most audacious of all, the film doesn’t rest on its Manichean haunches; instead, it humanizes even the supposed antagonists, offering us the formal victory of art in the face of its thematic defeat.
Continue reading “L’art pour l’humanité: A Bread Factory, Parts I and II (2018)”
Free Solo (2018), the documentary by the married climber duo Elizabeth Chai Vasarhelyi and Jimmy Chin about Alex Honnold’s successful quest to be the first person to scale up the vertical face of Yosemite’s El Capitan in 2017 alone and without ropes or tools, is a vertiginous puzzle both visually and conceptually.
Continue reading “Thoughts on Free Solo (2018)”
The first Monday in May is when New York’s Metropolitan Museum of Art holds its annual Met Gala to raise money for the museum, especially for its Costume Institute; the Gala also serves as the opening night of a fashion exhibition at the Met. The First Monday in May (2016) is a documentary about the preparation for the 2015 iteration of this event, when the exhibition was China: Through the Looking Glass, on the influence of China on Western fashion, in cooperation with the Met’s Department of Asian Art. It turned out to be a record-breaking exhibition.
Continue reading “The Museum Must Be Decolonized: The First Monday in May (2016)”