Babette Mangolte was present for a retrospective of her work at the Essay Film Festival in 2017.
What was it about film-making that led you to become interested in cinema?
I discovered cinema around 1959. At that time, I didn’t think I could make films – essentially I was a spectator interested in watching films, in particular silent films and foreign films. I felt films could show you places you will never go to as well as reveal ideas to you that could not be expressed with words.
Prior to 1959 when I went to Paris to go to university I had seen only a few films. I was mostly interested in theater and novels when I was young, so I was familiar with English, Russian, Italian, American and French literature but I had serious gaps in German literature, so discovering Weimar cinema was a wonderful surprise.
When I was a teenager, I was essentially reading six hours every day. Later I replaced my reading evenings with watching movies at the French Cinematheque. I think silent films shaped my taste and made me discover the image. By 1962 I was watching films from 10 AM until midnight and so I had to find a way to make a living of it. I decided to become a cinematographer – the image and the camera movements were the most interesting to me. Continue reading “Essay Film Festival 2017: Interview with Babette Mangolte”
There was palpable excitement amongst the audience for a work-in-progress screening of a Montgomery Clift documentary at the BIMI on 27th March 2018. Would they just be viewing selected clips, introduced by the filmmakers? Or perhaps even more? When the audience learnt they would be the first people beyond the film’s collaborators to preview this work, their anticipation increased a few notches.
In 2016, pioneering video essayist Mark Rappaport presented some of his latest work, never before seen in the UK, at the Essay Film Festival. The filmmaker has carved out his place in the heart of cinephiles everywhere with his frequently wry explorations of film and society.
Old Hollywood – Gregory Peck, Ingrid Bergman, Deborah Kerr, among many others – often finds itself the subject of his gaze, and by the 90s he had established himself as a distinct voice with his films Rock Hudson’s Home Movies (1992) and From the Journals of Jean Seberg (1995). By now, Rappaport has long mastered the art of forging new narratives out of found footage, with a dry, critical Brooklyn-accented narration that both guides and grounds his audience in a celebration of cinephilia.
Recently, the filmmaker sat down with Garageland where he spoke to James Payne about his career, popular culture, and his approach to storytelling. Read the full interview here: garageland
Her mother is Christian. Her father is Muslim. What is she?
Published: 16/08/2014 at 06:00 AM Bangkok Post
Writer: Kong Rithdee
“I’m Muslim. I’m Christian.”
In her memory, in her biography, maybe in her ideology, Adjani Arumpac is both. It doesn’t really matter, because the irrepressible grind of history has made her realise identity is fluid, ever-progressive, and isn’t always bound by the tyranny of DNA.