Kunst og arkitektur

IMAGE 93 - Summer 2017

Now one of the leading literary journals published in English, IMAGE is read all over the world—and forms the nexus of a warm and active community. The publication seeks out and brings to its readers work of high artistic quality that engages with the historic faith traditions on a profound level, without easy answers or false uplift, and with a serious respect for beauty and truth.

United States
Image Journal
Les mer
1 År

I denne utgaven

9 min.
necessary images

FOR YEARS I’VE WRESTLED with this seemingly straightforward declaration from the notebook of revered French film director Robert Bresson (a small book, but a bounty of inspiration). I’ve wanted to believe in his “necessary images” and therefore aspire to create them. To use simple, unadorned imagery to distill the filmmaking process to its fundamental elements: juxtaposition and montage, sound and music. To tell a story with pictures. To eliminate beauty for beauty’s sake. And to resist the urge to manufacture emotion, lest I betray my lack of faith in the form. The realization of this principle, in theory at least, would compel the audience to project themselves onto the screen, to bridge the gap between the expressed and the intended. It would necessarily result in the creation of films in which—to…

29 min.
the film the world needs now a roundtable discussion

When Gareth Higgins talked with Debra Granik, David Lowery, James Ponsoldt, and Alissa Wilkinson, the compilation of this special image of Image was drawing to a close. It was a perfect time to ask three contemporary filmmakers and a critic to reflect on the current moment. Granik, the adaptor-director of Winter’s Bone, is as much at home in the world of documentary as fiction; she is committed to telling, without stereotyping, the stories of those we don’t usually see on screen, and she was preparing a film set in the Pacific Northwest. Lowery was awaiting the release of his film A Ghost Story, while also scouting locations for his next movie, his second with iconic actor-director-activist Robert Redford, after his remake of Disney’s Pete’s Dragon and the Malick-influenced romantic crime…

1 min.
sweet life tempest

Sweet Life La Dolce Vita, Federico Fellini (1960) In a frame or two, Marcellowill turn away, finally havingfailed to hear her voice, the angelicgirl beckoning from acrossthe estuary’s rift in the beach,etching in the sand the dividebetween his world and her world. Behind him, in that flat expanseto which he will soon turn, waitsthe monstrous ray, decayingin the sand amid a gathering crowdof what would seem the similarly perplexed. Just before turning, he will raisehis hands, he will shrug, surrenderingall hope of hearing what it isshe means to say to him, her voiceeclipsed by surf, blown elsewhereby ocean breeze. But don’tlook at him. Witness now the sweetand—as I say—angelic offeringhe can no longer hear. Tempest Paul Mazursky, director (1982) Kalibanos welcomes you to his comfy cave,and if the Sony Trinitron proves defectiveso too does the illusion that…

10 min.
movies make utopia a conversation with mira nair

Mira Nair describes herself as “an Indian filmmaker at home in the world.” Odisha born, Harvard educated, and living in Uganda, she brings a vibrant multiculturalist sensibility to exuberant, humane, and honest tales of people trying to get along in a world where joy and struggle meet by the minute. Best known for her films Mississippi Masala (1991) and Monsoon Wedding (2001), she recently managed the extraordinary feat of setting a popular mainstream movie in Africa without resorting to the contrivance of adding a famous white actor or two to garner a bigger audience. Queen of Katwe (2016) also overcomes the tendency of sports movies to follow a manipulative path by rote. It’s a thoroughly original, wise, entertaining work, not least because it finds a compelling way to do what…

23 min.

I’M AT A LAKE IN WEST VANCOUVER, British Columbia. At least I think it’s a lake. It could be a sound, or an inlet, or a bay. In any case, it’s a body of water, and with the evergreens and sizable rocks lining the shore and covering the smaller land masses across from us, against a sharp, blue sky, it’s a beautiful morning. I meet and hug a petite young woman with lightly freckled skin and expressive eyes, who is portraying a character that I created in the movie version of my book—now being filmed here in West Vancouver. In the book, the story is set in a small town on the Pacific Ocean, near San Francisco. No one would mistake this coastline and its untouched beauty for that one. A…

25 min.
fathers & sons, divine & human a conversation with rodrigo garcía

Writer-director Rodrigo García makes film and television about human connection, or the lack thereof. The movie Mother and Child (2009), episodes of his shows In Treatment (2008–10) and Carnivàle (2003–05), and others reflect on the question of how to find love, give it, and figure out what we’re really here for. The role of family in shaping who we are is always close to the surface. To point out that García is the son of a literary giant—Colombian Nobel-laureate Gabriel García Márquez—may seem like a cliché, but when he decided to make a film speculating about a side trip Jesus made on his way back to Jerusalem after the temptation in the wilderness, García was himself asking questions about parents and children. Last Days in the Desert (2016) is also…