Woody Allen’s yearly addiction to making films continues. As anyone who follows Allen’s work knows, its quality has been steadily dropping as the years pass. Since the millennium there have been only a few gems hidden amongst a sea of mediocre, dull or downright bad movies. How does Café Society stack up against expectations, then? Read More
This was another great chance to see the work of some of the artists involved in the Oscillations project earlier in the year. On Floor 6 of the Crawford Building were Chris Gerrard, Sumit Mondal, Ginny Elston, Amanda Adam, Sharon Mottram and Patricia Ramaer, along with visiting artist Alex Peterson from the University of Minnesota. Read More
It is perhaps fitting that Knight of Cups’ structure revolves around a set of tarot cards; vague, universal statements that seem to fit everyone’s personal experiences are writer-director Terrence Malick’s stock in trade. Malick has made a career of producing “philosophical” films that feature extended shots of beautiful landscapes shrouded in whispered poetic dialogue. As Read More
A group of artists from the MFA Fine Arts and Humanities at the University of Dundee spent a week on the Greek island of Aegina. They paired up with local artists, found common ground, formed relationships and collaborated. The result is a fascinating blend of shared minds, memories and culture, inspired by the buildings, landscape Read More
This year’s selection of work from the Time Based Art and Digital Film faculties is slightly more fragmented than previous years. The pieces are spread throughout DJCAD, sharing many areas with Fine Art works. Rather than diluting their impact, however, this allows the pieces to be shown alongside other pieces that match their aesthetic or Read More
As a purveyor of art-house cinema, films with long poetic titles become something to be wary of. Generally these are examples of films that are either overwhelmingly didactic or gratingly obsessed with the (self-assessed) brilliance of their style or ideas. The Sky Trembles… teeters at the edge of the cliff of pretension, but manages for Read More
Peter Greenaway was one of the great European arthouse directors, lighting up the British film scene of the 1980s. His talents then faded, creating disjointed films more interested in using formalistic gimmicks than telling a good old-fashioned story. Or so the story goes. The general British critical scene has little time for Greenaway these days; Read More
