Traveling Light #2


For the next month, Gina Telaroli's great Traveling Light (2011) is streaming at Lumière and freely available to download in HD. I wrote a short text about related sounds (see also: the post below) to accompany this release, one of many fragments of prose, images and video also compiled here. Alongside watching the film itself, I strongly recommend reading Gina's 'precarious preamble', which addresses issues of craft, labour, class and gender with an openness and honesty that often seems to be absent in reflections on contemporary filmmaking. Traveling Light will also be playing at Anthology Film Archives in New York (before the Cinemateca Portuguesa in Lisbon) alongside a short programme of train movies – a good excuse, if needed, to revisit 4'8 1/2" from afar.

Realism(s) #36


The way we make music is not like this calculated, conceptual thing; sometimes we'll have an idea that's mostly sort of affective and nebulous. Like the song "Ready for the World" came from this idea where we were talking about what it would be like to be a little boy and to have this downstairs neighbour who'd just gotten broken up with by his boyfriend and you can hear him crying though the floor and you can hear R&B music coming through the floor, and so we just started making the song in light of that. And usually we'll make a song and I'll just open my mouth and sing. After the fact, I'll listen to it and hear words that I've sung and then kind of write something down, get something formal from that, but still relatively informal. I guess I just sing R&B hooks because... I really think KS 107.5; man, the first music I listened to. When I open my mouth to sing, I sing these melodies.

This reminds me of a dream I had when I was a kid, that ghosts were flying around my bedroom. The only way to calm the anxiety of their pace and intensity was to focus my gaze on theirs, at which point they would fly straight through me. The sensation was overwhelming, but it felt much better than watching their random flight patterns and erratic behavior. I think about this dream a lot as a metaphor for what songs are to me. Some of the ghosts are mine, and some of them aren't. It doesn't always feel great to engage with them, but in the end I’m usually glad to have their company.


Des animaux #9

Repast - Mikio Naruse, 1951, 35mm


History Lesson(s) #23

Untitled - Diana Markosian, from the series Chernobyl's Last Breath (2011)

History Lesson(s) #22

Pripyat - Nikolaus Geyrhalter, 1999, 35mm