Updated mid-2017

A scorching modernist manifesto where any sense of certainty is fully disarticulated and humanity – and perception – is entirely destabilized, Dziga Vertov’s Man with a Movie Camera gets to swift work rebuilding humanity, and sight itself, as an elastic, workable construct being actively primed for new awareness and ushered into a bold, uncertain future.  It is the rare film that seemingly invents or explores further than ever before a new filmic technique in almost every shot. They cannot be counted on two hands: slanted angles, clipped editing, freeze frames, artificially slowed and quickened camerawork, superimposition, jump-cutting, split screens, impenetrably wide angles, painful close-ups, tracking shots, backwards footage, and just about anything you can think of. Continue reading →