Redes: El cine mexicano
By Charles Ramírez Berg
Touki bouki: Mambéty and Modernity
By Richard Porton
Grey Gardens: Staunch Characters
By Hilton Als
It is difficult to think about the cinema of Ingmar Bergman without thinking about the way he explored his own dreams and nightmares on-screen. But until we set out to construct a visual essay focused on the great filmmaker’s dream world, we didn’t realize just how frequently, and how profoundly, he delved into the unconscious. In scouring through his amazing, often disturbing work, we saw the extent of this preoccupation, and also discovered, often by accident, visual correlations and atmospheric crosscurrents between films that give all of his work the sense of having emanated from one long night’s slumber. (We particularly love the nightmarish dimension a meditative moment from Autumn Sonata takes on when paired with a soundscape from Hour of the Wolf.) The greatest gratification of burrowing into Bergman was letting his films, via these new connections, come alive to haunt us again.