Above: Two Museums
After war comes peace. It isn't all cinematic onslaught found in the festival's shelter from constantly surprising drizzle. There is a sweet serenity to be found at Rotterdam, if you know where to go looking, or if you are lucky enough to stumble into the darkness and discover it.
Certainly the retrospective on Heinz Emigholz is a continued source of tranquil power—excepting for the moment the horrors of D'Annunzio's Cave and the abbrasive modernist of his lone fiction film here, The Holy Bunch (1991). His curious gaze, absolutely synonymous with that of the camera and thus while cooly analytic, also absolutely personal, investigates modern architecture with a fleet-footed patience that is remarkable to behold.
In such films as Sullivan's Banks (2000), on American architect Louis H. Sullivan's stalwartly solid, guardedly precious Midwestern, early 20th century banks, and Two Museums, a new premiere discovering, among many other things, the...
After war comes peace. It isn't all cinematic onslaught found in the festival's shelter from constantly surprising drizzle. There is a sweet serenity to be found at Rotterdam, if you know where to go looking, or if you are lucky enough to stumble into the darkness and discover it.
Certainly the retrospective on Heinz Emigholz is a continued source of tranquil power—excepting for the moment the horrors of D'Annunzio's Cave and the abbrasive modernist of his lone fiction film here, The Holy Bunch (1991). His curious gaze, absolutely synonymous with that of the camera and thus while cooly analytic, also absolutely personal, investigates modern architecture with a fleet-footed patience that is remarkable to behold.
In such films as Sullivan's Banks (2000), on American architect Louis H. Sullivan's stalwartly solid, guardedly precious Midwestern, early 20th century banks, and Two Museums, a new premiere discovering, among many other things, the...
- 1/31/2014
- by Daniel Kasman
- MUBI
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