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Film Still from Double Blind by Sophie Calle

by :Ela Bittencourt
08-12-2019
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I have a thing for Sophie Calle. So does my husband. Since we've known her photographs we have been fascinated by her lurking, stalking style and secretive subject matter. Calle is a voyeur, but the thing is -- her photographs...

Parasite by Global South filmmaker - Korean filmmaker Bong Joon-ho

by :Ela Bittencourt
05-27-2019
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Best Global South Films in Cannes

It was a great moment for films from Latin America and the Global South in Cannes. Among our favorites--and the nearly unanimous critical favorite--is PARASITE, by the South Korean filmmaker Bong Joon-ho. PARASITE is one of those hugely popular films...

by :Ela Bittencourt
04-22-2019
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Film Noir Deadly Women

Film noir can be an unforgiving genre, populated with female characters who are either one-dimensional femme fatales or mere appendices in the cat-and-mouse private-detective chases. But then there's another breed of film noir women: Beautiful and brainy, challenging, outspoken and...

Still from Bring Me The Head of Carmen M.

by :Ela Bittencourt
01-23-2019
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Future Bodies and the Tired Ghost of Carmen Miranda: Brazilian Cinema at Mostra de Cinema de Tiradentes

My stay in Tiradentes, Minas, where the 22nd edition of Mostra de Cinema de Tiradentes, is still taking place, was brief. And yet, it was enough to sense the intensity, both of the films and the debates, which I associate...

by :Ela Bittencourt
01-11-2019
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Short, Loud and Bold: London Short Film Festival (LSFF) Rolls In

I cannot speak to the long tradition of presenting bold shorts at the London Short Film Festival (LSFF), this being only my second time writing about the festival. And yet, if the past two years are any indication, it is...

by :Ela Bittencourt
12-24-2018
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Hirokazu Koreeda’s SHOPLIFTERS: Mythologies of Marginalized Families

Marginalized families have their own mythologies as far as their portrayal in popular culture goes. There is plenty of it in one of this year’s most lauded films on the festival circuit, Alice Rohrwacher’s Happy as Lazzaro (2018), in which...

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