[16mm / CINEMA KONSONANT #2 / PONREPO / Apr 2026]

The subject of "named objects" and their abstract existence without any meaning and application - one of the main topics of Nathaniel's films, a possibility of running away from meaning and narrative through the special kind of editing syntax. In PRELUDE this approach intensifies through adoption of multiple out-of-focus sequences. Even if some of the footage might be considered a pure technical mistake, an experienced eye would probably notice some…

[16mm / CINEMA KONSONANT #1 / PONREPO / Mar 2026]

There is an important thing about the way Dorsky treats both the process of filming and the process of watching his films. These are not movies, they are not social events; they are rather exercises in loneliness. And these tones of darkness in his later works emphasize this notion as well.

INTIMATIONS gives a feeling of gradual slowing down and of switching back to a realm closer to reality and…

1. Beauty of unfairness and unfairness of beauty.
2. Life is worth nothing.
IFFR 2025, Feb 1

It is a pretty typical of Serra to desacralize gorgeously pompous topics via over-routinization and patient meditation. Obviously, there is a difference between slaughterhouse and this elite and refined world of corrida, and Serra is working his way to reduce this gap. Comparing to some giants of documentary (i.g. Herzog) "AoS" is purely primitive and empty. Serra adapts the fly-on-the-wall approach, since because…

I must admit sometimes I have a feeling that the current aesthetic balance might be slightly skewed towards celluloid form of medium. It is understandable that in that case just simply being able to successfully develop a film and get something visible during the projection is already an achievement. Such a production is often expensive; it requires a lot of effort, cumbersome logistics, and human interactions in order to achieve something (even though often it has been achieved already thousands…