By Alan Scherstuhl
By Charles Taylor
By Melissa Anderson
By Inkoo Kang
By Amy Nicholson
By Sam Weisberg
By Stephanie Zacharek
By Chuck Wilson
The Rotterdam Film Festival, where I was a guest last week, is the international showcase most committed to new, far-flung, and alternative modes of cinema. A case in point is *Corpus Callosum, Michael Snow's new, feature-length perceptual vaudeville, which had its world premiere projected on the big screen of a state-of-the-art commercial theater.
Although shot on video and largely computer-produced, *Corpus Callosum is almost a self-curated retrospective of Snow's career, but with a twist. Everything in this continually self-referential piece, some of which was shown in late 2000 as The Living Room, is stretched, squeezed, and flippedthe bodies of Snow's large cast not the least. (At one point, one guy ties another in a knot.) Space is a similarly malleable object. Is the camera panning, or is the image being subjected to some sort of digital taffy-pull?
Written and directed by Kang Je-Gyu
Opens February 8
*Corpus Callosum, which is titled for the "central region" of brain tissue that acts as a conduit between the two hemispheres, can be appreciated as both a naturalistic animation and an abstract Frank Tashlin comedy. It's the first movie of the new millennium to warrant both a special issue of October and a run at the Sunshine Theatersoon I hope.
Join My Voice Nation for free stuff, film info & more!