Black Drop (Simon Starling, 2012)


Five recent films to start with:

La Venus à la fourrure by Roman Polanski.

Black Drop by Simon Starling.

Song by Nathaniel Dorsky.

Orléans by Virgil Vernier.

La Jalousie by Philippe Garrel.


Bruce McClure in his studio in Greenpoint, Brooklyn (August 30, 2013)
- © Courtesy of the author.

And also: Leviathan (Lucien Castaing-Taylor; Véréna Paravel) is an obvious choice but already a classic; Blue Jasmine is probably the best Woody Allen of the 2000s; The Conjuring (James Wan) was incredibly overlooked. I would like to add to this list also Bruce McClure’s untitled filmic performance (featuring some frames from Al Stahl’s Rinso bird commercials) that I got the chance to see in his studio in Brooklyn and also the best thing that came through TV: Mad Men (AMC, Season 6).


Let Me Die a Woman (Doris Wishman, 1977)

Five discoveries:

Respectable Creatures (ca. 1950-1966) by Jack Smith, seen at Filmforum Festival in Gorizia.

Sankt-Pauli zwischen Nacht und Morgen (1967) by José Bénazéraf, seen in the Cinema Bis ongoing program at Cinémathèque française.

Most Dangerous Man Alive (1961) by Allan Dwan, seen at Il Cinema Ritrovato in Bologna.

Let Me Die a Woman (1977) by Doris Wishman, seen in the Sexploitation program at Anthology Film Archives.

Jellyfish Sandwich (1994) by Luther Price, that I finally got to see in its original Super 8 print thanks to the Substandard Gauge program I curated for Light Cone in Paris.

Plus my personal cult movie of the year: Vigilante Force (1976) by George Armitage, that Clément Rauger showed me on DVD.


Eye-O-Gram #1 (Katherine Bauer, 2013), from the exhibition Teenage Dream Sequence: Seduction of the Eye
© Courtesy of the artist and Microscope Gallery.

Not only moving images: Jack Goldstein x 10,000 (Jewish Museum, NYC); Morgan Fisher's Interior Color Beauty (Bortolami Gallery, NYC); Antigrazioso, curated by Luca Lo Pinto for the group show Nouvelles Vagues at Palais de Tokyo. I witnessed two chapters of Katherine Bauer's Teenage Dream Sequence, attending the first in Paris (An Invocation of Jeanne d'Arc, at Cité des Arts) and following the second (Seduction of the Eye, Microscope Gallery, Brooklyn) from afar and yet incredibly close.

Enrico Camporesi is a writer and curator based in Paris. He is a research fellow at Centre Pompidou and a PhD candidate in Film Studies in a joint program between the University Sorbonne Nouvelle–Paris 3 and the University of Bologna.