SLOW CINEMA

Following my enjoyment of Ben Rivers two Years at Sea and its classification as slow cinemaI I read around the subject using these sources listed here. Slow cinema is a movement of film is encapsulated by a type of contemplative, observational movie where image and soundtrack takes precedence over conventional narrative. Other filmmakers operating within slow cinema are auteurs such as Béla Tarr and Apichatpong Weerasethakul, possibly with Tarkovsky and Antonioni the movement's godfathers.

I am toying with the idea of developing my own slow cinema piece centred around my elusive global warming movement founder and scientist in my narrative. However after reading around I feel it is not the best way to go. I am looking to grab my audience, captivate them through drama and enigmas and conflict and all of these are not natural bedfellow with slow cinema.

It is something to look forward to in the future though as Ben Rivers and Apichatpong Weerasethakul's work I find really interesting. I love the mood and there are definitely techniques I can borrow for my own work to develop my practice moving forward.

https://theartsofslowcinema.com/category/papers/

https://theartsofslowcinema.com/2014/04/02/slow-cinema-at-the-museum-paper/

Mark Cousins
https://www.prospectmagazine.co.uk/magazine/widescreen-slow-cinema

http://old.bfi.org.uk/sightandsound/feature/49591

Slowly does it

Though his films occasionally test the audience’s patience, Haneke plays little part in what for the sake of this issue we are calling Slow Cinema. Its key progenitor was probably Tarkovsky, but Béla Tarr, a film-maker who could hardly be more different to Haneke, has undoubtedly been a central figure too. If Tarr’s epic seven-hour Sátántangó (1994) remains the biggest beast of an achievement in this area, Werckmeister Harmonies, his adaptation of László Krasznahorkai’s novel The Melancholy of Resistance, is a worthy companion. A strange allegory that brings a stuffed whale in a truck to the centre of a small town, its strain of middle European weirdness puts it in stark contrast to much of the Slow Cinema Jonathan Romney discusses.

Apichatpong Weerasethakul’s Tropical Malady, for instance, is mysterious in a completely different way. Offering, among many other treats, a sincere belief in shamanism, this portrait of a romance stands here for a more delicate form of experimentation than Tarr’s or Haneke’s – and also for those film-makers who have found crossover opportunities in gallery-based work, another phenomenon which gained ground in the last decade. Weerasethakul (or ‘Joe’, as his friends and colleagues call him) has benefited, too, from the kind of world cinema curation that exemplifies the new influence of festival funds, and of special projects like Vienna’s very successful New Crowned Hope commissions

Guardian discussion on Nick James Slow Cinema Boring?

https://www.theguardian.com/film/filmblog/2010/may/21/film-philistine