I was fortunate enough to interview Eiko Ishibashi and Satoshi Takata for Rough Cut ahead of GIFT's Australian performances. Both the composer and producer concluded their email responses to me by saying that the project is an inquiry into the relationship between sound and image, and the possibility of a new type of sound cinema. I think this is the most fruitful way to approach the work as a viewer too.

From my sixth-row seat of Melbourne’s Recital Centre during…

"Or you'd just ed by one of those puddles in the street with gasoline rainbows in them. I mean you'd be different in some way—I can't explain what I mean. And even if I could, I'm not sure I'd feel like it." – Holden Caulfield, The Catcher in the Rye

It's a shame that MIFF's program notes have attempted to sell Lodkina's film as a piece of dark millennial quirk, calling it "the lovechild of Round the Twist and David…

As Hong continues paring back his means of production, and the more overt structures of his earlier films give way to a freewheeling nature (at least, across the 11 films that I've now seen), the peculiarity of each dispatch makes it impossible not to read them as a reflection on the method itself.

Just as how Isabelle Huppert's spontaneously developed French education system in A Traveler's Needs reflects Hong's own strive for complete self-definition and independence, here Kim Min-hee gathering…