Fuses is a labor of love, but it’s Schneemann’s labor that’s often overlooked; the film isn't solely a “diaristic indulgence"—an accusatory phrase levied by male filmmakers—but an immersive creative experience.
Jane Campion's In the Cut dresses itself up as a neo-noir about a woman who “can contend only against the power of men.” But it’s a film that’s more than meets the eye, or the genre.
Fragmented, discontinuous, and piercingly personal, Cameraperson is a testament to what it means to be open and alive to the variegated voices of our world.
In the images from Sátántangó that still cling to me, I see my mind’s selective memory: its search at work. How the memories of scenes become not a catalogue of the film, but another creation altogether.