{"feed":"The-Daily-Notebook","feedTitle":"The Daily Notebook","feedLink":"/feed/The-Daily-Notebook","catTitle":"Entertainment","catLink":"/cat/entertainment"}
Ela Bittencourt's new column explores South America’s key festivals and notable screenings of Latin films in North America and Europe.We Are All HereThe news from Sundance this year was that it’s been a year of women filmmakers. But that early optimism was quickly cut short. Alison Wilmore reported for Buzzfeed that the grumblings by the industry about no clear discoveries at this year’s festival seemed directly related to the larger representation by women. In Wilmore’s words, the buyers were asking, “Who are these films for?” “As mindblowing a concept as this may be, for women,” was Wilmore’re answer in the article. Some critics, such as Eric Hynes, retweeted Wilmore’s repartee on Twitter to voice criticism of the industry’s response. Others, like me, reacted to the industry comments with even more chagrin, wondering if indeed only women were the intended viewer.Meanwhile in Latin America, women encounter similar challenges. Brazil is a case in point. Mostra de Cinema de Tiradentes, in the state of Minas Gerais, has grown a local name for having some of the most heated debates about cinema in the country. Its longtime artistic director, Cleber Eduardo, is known for selecting films that are not only formally ambitious or adventurous, but also at times divisive, stirring heated polemics. This past January, you could feel the tension growing as the festival progressed over its ten-day stretch.Most international viewers will not have heard of Tiradentes. In fact, even Brazilians, whose movie viewing on...
MUBI's retrospective The Films of Krzysztof Zanussi is showing from January 18 - March 23 in most countries in the world.Krzysztof Zanussi
"[T]he test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function." 
—F. Scott Fitzgerald, The Crack-Up 
"Many know much, but do not know themselves." 
—Saint Bernard of Clairvaux, The Meditations Despite not being an immediately recognizable name to many modern filmgoers, Krzysztof Zanussi is one of the most important Polish filmmakers. He gave a speech with Andrzej Wajda at the Filmmakers Forum in Gdańsk in 1975 that paved the way for the famous ‘cinema of moral anxiety.’ Although he is often overlooked by modern cinephiles—particularly in comparison to contemporaries like Kieślowski or Wajda—he is a fascinating director whose vast cinematic output followed a degree in philosophy and a PhD in physics. His films are austere but compelling dramas unsurprisingly laced with intellectual, metaphysical and existential discourse. “It is rare enough for a physicist to become a filmmaker,” wrote Annette Insdorf in the New York Times in 1983, “even more remarkable when he achieves worldwide acclaim for making 20 compelling dramatic films within 11 years.” Alas, his star has waned somewhat since winning the Jury Prize at Cannes in 1980 and the Golden Lion at Venice in 1984. While he was never the most visually inventive filmmaker—he told Film magazine in 1992 that "the idea of visual cinema has always...