Fences is a film about how our environment shapes us, and how, no matter how noble their intentions, our parents can’t help but mess us up in some fashion, just as their parents had done for them.
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Goodbye Soviet Union
Elen Lotman, ESC (Photo by Heikki Leis)
One of the highlights of the annual EnergaCAMERIMAGE festival, the IMAGO Diversity and Inclusion panels give cinematographers across the globe the opportunity to share knowledge and experiences with colleagues. Started in 2016, the panels are free-wheeling explorations into how gender and ethnic minorities can gain footholds in the field of cinematography.
IMAGO, the International Federation of Cinematographers, came together in the 1990s as a way to coordinate industry guilds and societies. Its membership now represents more than 4,000 cinematographers from 56 national societies. Through its committees, the federation campaigns for cinematographers’ rights, including working conditions, authorship legislation, and staffing initiatives.
Black Narcissus is now available to stream on Neon..
REVIEW: Those unaware of Rumer Godden’s 1939 novel, or Powell and Pressburger’s memorable 1947 cinematic adaptation, could be forgiven for thinking this is a happy tale of nuns bringing the Lord’s word to the remote Himalayas. They will be in for a shock.
Call the Midwife this ain’t. Instead,
Black Narcissus (which debuts on SoHo tonight, Monday, at 9.30pm, as well as being available to stream on Neon from January 31) is an intense and increasingly erotic psychological drama which could become habit forming over the next three weeks. While it’s unlikely to attract the same attention from America’s Catholic National Legion of Decency as the movie, which it condemned as “an affront to religion and religious life”, Danish cinematographer Charlotte Bruus Christensen’s (