1/3 Movie Night! Tokyo! Tonight! At Bela Dubby!

I’m helping out a friend tonight, running 1/3 Movie Night at Bela Dubby in Lakewood. We’re showing Tokyo!, which is an awesome medley of three short films treating the city of Tokyo more or less as a character. I saw it at the Cleveland Film Festival last year. It’s part spectacle and part farce. In almost equal measure.


About the event:

Where: Bela Dubby

13321 Madison Ave. Lakewood, Ohia

When: Tonight! Thursday, October 15th @ 8:00pm!

About Tokyo!:

Tokyo! is a 2008 film containing three segments written by three non-Japanese directors, all of which were filmed in Tokyo, Japan!

Michel Gondry of The Science of Sleep and Eternal Sunshine of the Spotless Mind, Leos Carax of Les Amants du Pont-Neuf, Bong Joon-ho of The Host each directed a segment:

  • Interior Design: Michel Gondry!
  • Merde: Leos Carax!
  • Shaking Tokyo: Bong Joon-ho!


Movie Night schedule for the remainder of 2009 forthcoming!


Toward A Twenty-First Century Portraiture

Zidane: A 21st Century Portrait, Directed by Douglas Gordon and Philippe Parreno

Zidane: A 21st Century Portrait, Directed by Douglas Gordon and Philippe Parreno

Those of you who skipped last night’s 1/3 movie night at Bela Dubby really missed a doozy. Zidane: A 21st Century Portrait is an entirely unique cinematic experience, a film unlike any other. Training seventeen cameras at Zinedine Zidane playing his final game for Real Madrid in April 2005, the filmmakers capture not just a character or personality but a person, plain and simple. Zidane expands the possibilities of conventional portraiture to include time, allowing the artist to capture things like habit and mannerism, aspects of personality and behavior even Carravaggio couldn’t reproduce due to the limitations of paint. 

The film removes all cinematic conventions that aren’t integral to the medium; narrative, character development and plot structure are all rejected, enabling a thorough interrogation of the possibilities of light, color, sound and motion. It’s almost like a cinematographic version of a painting by Jackson Pollock: an omnidimensional field in all four dimensions, wholly engrossing and uplifting if one let’s oneself be swept along. It’s the ultimate film about film — or the possibilities of film — exploring its affordances like nothing I’ve seen before.