Decades after his death, with only seven feature films under his belt, Andrey Tarkovsky remains the greatest film maker Russia has produced, under Soviet Union and thereafter, both in the collective critical film imagination, and probably in fact. His films were so multifaceted – from the stunning cinematography to the philosophical dialogue that always centered on the same question – what it means to be human – that to unpack their sheer elegiac sweep of his films requires a book.
If you are into film, Andrei Tarkovsky’s “Stalker” needs no introduction. The 1979 Soviet picture has become a staple of any film school curriculum and a must-see for any cinema connoisseur. And if you have never seen it on a big screen and live in New York, you are in luck, because the new digitally restored version now plays at the Lincoln Center Film Society through this Thursday. Based on what is arguably the most famous Soviet science fiction novel, The Picnic on the Side of the Road by the Strugatsky brothers, it’s an exercise not only in masterful film-making but in film as philosophy. The picture’s deathly location sets of the Zone, an alien-created place where our innermost desire come true, are only matched by the philosophically infused dialogue about the meaning of life and human nature by the film’s three protagonists, the Stalker, who is simply the guide in the treacherous Zone that reads its visitors characters and intentions and changes accordingly, and hist two clients, the Professor and the Writer, whose true nature unfolds as the film progresses.
We are co-hosting Diane Pernet’s Film Festival, A Shaded View on Fashion Film in Chicago this May with Gallery Aesthete and School of Art Institute of Chicago. There will be a Q&A session with Diane Pernet after the screenings. We hope you can join us.
This video with clothes by Iris van Herpen and choreography by Russel Maliphant was shot by Warren Du Preez and Nick Thornton Jones, who have collaborated with Bjork and Alexander McQueen, for AnOther Magazine. The music is by Salvador Breed, who has done all the music for Iris van Herpen (and not just because they are a couple!).
One of the premieres at the current TriBeCa Film Festival is a mini-documentary on Martin Margiela, “The Artist is Absent,” directed by Alison Chernik. How do you make a documentary about a designer notoriously recluse? You interview other important people.
Among them, Jean-Paul Gaultier, the designer who gave Margiela his first job, the fashion critic Suzy Menkes, Raf Simons, who credits seeing a Margiela show for the first time with his desire to become a fashion designer, and our dear friend, the Belgian makeup artist Inge Grognard, who did the makeup for those iconic early Margiela’s shows.
Undercover was the special guest at Pitti Uomo the first time I attended the Florentine fashion fair. I took a video of Jun Takahashi and his team making a Grace doll, which, in the typical, lightly sinister Undercover signature, is made by gutting teddy bears. It was one of the most unforgettable fashion moments and I wanted to share it with you. The phenomenal music was a live performance by Kan Takagi and Atsuhiro Ito. File under nostalgia…
One day, back in the 80s, the German filmmaker Wim Wenders saw pictures of the Brazilian-born photographer Sebastiao Salgado at a gallery in Los Angeles. He was so impressed that he bought two prints on the spot. Since, Salgado has quickly become his favorite photographer. Wenders continued to follow his work, and one day, being who he is, Wenders decided to simply knock on Salgado’s door.
I’m at that age where concerts don’t impress me much, having seen everyone I have wanted to see a few times over. But when by chance I saw a Facebook post about Massive Attack, whom I have never seen play, I bought a ticket right away. I did not realize that it’s not a straightforward concert. What I witnessed was something infinitely better. Massive Attack has teamed up with the documentary filmmaker Adam Curtis to create a performance that will undoubtedly be etched in the minds of those who witnessed it for years to come. It was a combination of film and music, not exactly a documentary and not exactly a concert, but flawlessly executed fusion of image and sound.