Reviews
Our Western popular culture is youth-obsessed and having elderly people as main characters is a rare sight. And when it comes to queer representation in cinema, there aren’t enough lesbian movies. A movie about lesbian elderly women? Well, definitely there isn’t enough of those either, and that makes Two of Us, a French film written and directed by Italian director-writer Filippo Meneghetti, a welcomed yet flawed addition to queer representation.
READTwo of Us: On Ageing Queer Love & Aged Queer Stereotypes
Isa Komsi’s review of Filippo Meneghetti’s film ‘Two of Us’
Lan Yu is a story about a melodramatic love affair between an architecture student, Lan Yu, and a wealthy businessman, Han Dong. They keep on finding each other throughout the years till time runs out.
READLan Yu: Attraction of Opposites; Between Symbolism in Beijing Comrades
Yilin Ma’s review of Stanley Kwan’s film ‘Lan Yu’.
‘Bliss’ (2021), written and directed by Henrika Kull, stars Adam Hoya and Katharina Behrens. The film follows a relationship between Maria (Hoya) and Sacsha (Behrens), two women who meet each other while employed as sex workers in the same brothel in Berlin.
READBliss: With a Light Touch, With a Tender Gaze
Amanda Hunt’s review of Henrika Kull’s film ‘Bliss’.
A review on ‘Sarajevo Roses and Clouds of June’ exhibition by Samra Šabanović and Sheung Yiu at Third Space, Helsniki.
READThe (Un)disputed Portrait of the Middle-Class
Fjolla Hoxha reviews ‘Sarajevo Roses and Clouds of June’ an exhibition about what photography exposes in terms of socio-political relationships within the hegemony of the power structures that reign us.
A I S T I T – coming to our senses is a traveling exhibition with a satellite programme, a publication and three part podcast and it happened/will happen in various locations in Paris, London, Berlin, Helsinki, and Ghent. Since the exhibition deals with the senses my plan for the review was to try and experience it primarily from a non-visual perspective and focus on how the exhibition brings in the audience and allows them to experience and feel their way through the works.
READA I S T I T – Coming to Our Senses: A Review in Three Paths
Timo S. Tuhkanen’s review asks if institutional structures allow coming to our senses. And is it possible to break the binary between metaphysics and phenomenology?
I often wonder if it is a specific language that working-class families speak. When the possibilities of the world feel so limited through money and social power, are we even allowed to dream? Knowing how the world can derail dreams, the parents of these families assume the role of society before their children ever leave the home.
READHello World: Tell Me if Something Bad Happens
Shia Conlon’s review of Kenneth Elvebakk’s film ‘Hello World’.
But is there some kind of inner logic or consistency in this film? I experience that consistency is expressed as the constant chaos of human identity and existence. We try to manage our identity and see our lives as a comprehensive, logical narrative and consistent journey. In reality, we are more or less lost as to our identity and ourselves all the time.
READThe Nowhere Inn: a shrewd and comical meta-documentary
Never Gonna Snow Again really raises the concerns around environmentalism. It’s trying to tell this message of a failing world through some humour and fantasy. The protagonist’s integration into this Polish community is like a wake-up call to the inhabitants, who many seem to be oblivious to the growing issue of climate change.
READNever Gonna Snow Again: a hypnotic take on the environmental downfall
The captivating nature of Memoria depends on the work of some notable artists. The eccentric Tilda Swinton stars as the leading figure, Jessica, whose life suddenly starts revolving around a strange, unrecognizable sound that keeps interrupting her everyday life. The urge to find it is intertwined with and partly hidden in the subtlety of her obsession for more. Swinton’s acting is stripped of emotion but not unfeeling, for she has the great skill of reserving considerable emotion behind the minimalistic expression.
READMemoria: On Remembrance and Stillness
To be received by the artist, to be held by their presence and attentively guided into and through the work, in a personalised performance feels timely. After a long period of self-containment and social isolation— protecting each other and ourselves through reducing contact—this personalised care and shared intimacy with another feels like tending wounds. As a guest, you are “hand-guided” through artworks dealing with uncomfortable “subjects”, ones that puncture our boundaries and explicate the uncontainability of our bodies and interdependencies with others.
READI Versus Us Versus I
Yvonne Billimore reviews the exhibition ‘TICK ACTs’ as a reflections on encountering and thinking-with “other” bodies through art.
In this piece, I explore the interrelatedness of visuality, black displacement and black diaspora. Diaspora Mixtapes makes apparent the efficacy of visual representations as an artistic genre that implicitly addresses questions of border regimes, queer belonging, and self-representation. Furthermore, Diaspora Mixtapes exemplifies the contemporary inclination to make visible black cultural exchanges.
READDiaspora Mixtapes: Towards a Politics of Black Filmmaking
Analytical review of ‘Diaspora Mixtapes’ an art-house documentary reveals what it means to politicize the visual.
It was a sensation that returned to me again this summer, when I found myself approaching the Mänttä Fine Arts exhibition space, Pekilo: A feeling of warmth, comfort, familiarity. A feeling of homecoming. I mark that this too came on the heels of enduring isolation.
READMèconnaissance in Mänttä
Raine Aiava explores the institutional framework that guided Mänttä Art Festival 2021.
