Podcast appearances and mentions of victor kossakovsky

Viv Groskop and David Benedict join Tom Sutcliffe to talk about Maria, the Maria Callas biopic staring Angelina Jolie. They also review Alive in the Merciful Country by A.L. Kennedy and Architecton, a study of concrete and stone from the Russian filmmaker Victor Kossakovsky. Plus Jeremy Treglown, Fellow of the Royal Society of Literature, who talks about the changes that are happening within the organisation. Presenter: Tom Sutcliffe Producer: Claire Bartleet

The 2024 Berlinale wrapped up on Sunday, February 25, after a fortnight of buzzy premieres and fraught political controversies. The Film Comment crew was on the ground throughout the festival, reporting on each day's goings-on via daily Podcasts, dispatches, interviews and more. On the final Friday of the festival, FC Editor Devika Girish gathered critics Jordan Cronk, Giovanni Marchini Camia, and Beatrice Loayza to discuss a last haul of films from the lineup—including Encounters prizewinner Direct Action, Generation 14plus prizewinner Who By Fire, Victor Kossakovsky's Architecton, Kazik Radwanski's Matt & Mara, Christine Angot's A Family, and Travis Wilkerson's Through the Graves the Wind Is Blowing. Catch up with all our other Berlinale coverage on filmcomment.com—there's more coming this week!

All'ultima edizione del Festival internazionale del cinema di Berlino è stato presentato il documentario Architecton del regista russo Victor Kossakovsky. Il lavoro è una dura requisitoria contro l'edilizia basata sul cemento, materiale tragicamente rappresentativo della contemporaneità: effimero, deperibile, inquinante, ad alto impatto ambientale. Architecton è un invito a cambiare prospettiva, a contestare le retoriche pervasive del green washing, a sposare le ragioni di un'ecologia profonda, a utilizzare materiali durevoli e sostenibili, a puntare sulla circolarità, a ridefinire il rapporto tra uomo e Natura. Learn more about your ad choices. Visit megaphone.fm/adchoices

At the Berlinale, the profound journey of "ARCHITECTON" as director Victor Kossakovsky reshapes our vision of the world. The post “Architecton”, interview with director Victor Kossakovsky appeared first on Fred Film Radio.

At the Berlinale, the profound journey of "ARCHITECTON" as director Victor Kossakovsky reshapes our vision of the world. The post “Architecton”, interview with director Victor Kossakovsky appeared first on Fred Film Radio.

At the Berlinale, the profound journey of "ARCHITECTON" as director Victor Kossakovsky reshapes our vision of the world. The post “Architecton”, interview with director Victor Kossakovsky appeared first on Fred Film Radio.

At the Berlinale, the profound journey of "ARCHITECTON" as director Victor Kossakovsky reshapes our vision of the world. The post “Architecton”, interview with director Victor Kossakovsky appeared first on Fred Film Radio.

At the Berlinale, the profound journey of "ARCHITECTON" as director Victor Kossakovsky reshapes our vision of the world. The post “Architecton”, interview with director Victor Kossakovsky appeared first on Fred Film Radio.

At the Berlinale, the profound journey of "ARCHITECTON" as director Victor Kossakovsky reshapes our vision of the world. The post “Architecton”, interview with director Victor Kossakovsky appeared first on Fred Film Radio.

This week, Film Comment is reporting from Berlin, where the 2024 Berlinale kicked off on February 15. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Olivier Assayas, Mati Diop, Bruno Dumont, Hong Sangsoo, and many more. Subscribe to the Film Comment Letter here to stay up-to-date. On today's episode, our fourth from Berlin, FC Editor Devika Girish is joined by an international cadre of programmers and critics made up of Jonathan Ali, Frédéric Jaeger, and Antoine Thirion to talk about Nelson Carlos De Los Santos Arias's Pepe, Hong Sangsoo's A Traveler's Needs, Malaury Eloi Paisley's L'homme-vertige, Dag Johan Haugerud's Sex, Victor Kossakovsky's Architecton, and Guillaume Cailleau and Ben Russell's Direct Action. As if that weren't enough! This episode also features a special, short interview by FC Publisher (and President of Film at Lincoln Center) Lesli Klainberg with super-producer Christine Vachon of Killer Films, the production company behind two standout hits of 2023, Past Lives and May December. The two dig into the contemporary and historical importance of the Berlinale for American independent film and how Christine is able to adapt her business to ongoing changes in the industry. Stay up to date with all of our Berlinale 2024 coverage here: https://www.filmcomment.com/blog/category/festivals/berlin/berlin-2024/

Ainara's first feature was feature film See You Tomorrow, God Willing about a group of Franciscan nuns which she wrote, shot, directed and edited. She has collaborated with Russian filmmaker Victor Kossakovsky  as First Assistant Director  on several of his acclaimed films like: Varicella,  Aquarela, and more recently Gunda. Ainara's most recent directorial project is her acclaimed documentary feature, Polaris.

Victor Kossakovsky shows us the experience of farm animals without the mediation of human words and concepts, in a film that extends compassion to life other than our own. The amazing advancements in cinematic technology in recent decades include cameras and sound equipment that can give us sound and image close-up from a long distance, as well as small and portable devices for ground level shots. One of the benefits of these new tools is the ability to make films about animals that eliminate interference from the presence of humans to a remarkable degree. Nothing I've seen exemplifies this advantage better than Gunda, a film by Russian director Victor Kossakovsky, released in 2020. Gunda is the name of a large and impressive looking sow with a litter of twelve piglets, that we see living in a farm environment. The movie doesn't tell us that that's her name, but I learned it from reading about the film later. In fact, there is no narration in Gunda, no explanatory text, no music, no language or voices, no human beings at all. For the entire film, at least before the end credits, we only observe Gunda and her litter, as well as some free range chickens and cows. The gorgeously crisp photography is in black and white. In my view, black and white more vividly conveys subjective states. Whether or not that was the reason for using it, black and white suits the film's message perfectly. In the long opening sequence, the mother pig sleeps, and gradually we see the piglets emerging from behind her in the doorway of her open pen. The process begins by which the little ones feed from their mother's milk. There are enough nipples for all of them, but it takes time for each adorable baby to find one, as they crawl on top and between one another. We are at ground or eye level with them, as we are for most of the film, not looking down at them from a human point of view, but right in there among them. The time for animals is at a different pace than what we have accustomed ourselves to. The mother wakes up, shifts her body, helps the babies to access her as best she can, and it takes time, time for the experience of being an animal. Later we observe chickens, released from a cage by an offscreen presence slowly emerging into a field with woods where they slowly and very carefully explore the terrain. They too, have the force of personality, the character of beings purposely seeking their needs. One of the chickens gets around on only one leg, and quite well, I must say. Later, Kossakovsky shows us a herd of cows. We look in their eyes, observe their interactions with one another, including helping to swat away flies with their tails, and they too display their personhood. The Lakota speak of animals as people: for example, the “four-legged people” or the “winged people.” That's what this film does as well. We are made to see these beings' lives as sufficient and meaningful, apart from any consideration of how they could be of use to us. When we return to Gunda and her litter, the piglets have gotten bigger and more playful as she leads them around the yard. I said before that there are no humans. Towards the end, we do see a large farm vehicle drive up, but we don't see the people driving it. The movie doesn't show us animals being slaughtered or treated cruelly, and we don't hear that either. Yet the film, and especially the ending, has an unforgettable impact. With pure visuals it makes the best case against eating animals I've ever seen. Gunda is a beautiful work that conveys to us, without any preaching, the absolute unity of life.

We're not the only ones grazing for this episode as we take a look at an intriguing new trend in cinema: the proliferance of feature-length ‘observational' documentaries about livestock. Victor Kossakovsky's GUNDA (2021) and Andrea Arnold's COW (2021) wring tension, drama and political impetus out of paying £15 to watch a farm animal's daily life projected 60-feet tall with strikingly different aesthetic approaches, prompting us to revisit a true classic of our time in Michelangelo Frammartino's Hircine masterpiece LE QUATTRO VOLTE (2010), as well as other cinematic precedents by Georges Franju, Robert Bresson and Béla Tarr. Frammartino's new film IL BUCO, his first in twelve years and a truly awe-inspiring development of his style, previewed at the London Film Festival last year and will be released by New Wave Films on June 10th. The soundtrack features a cover of ‘Reincarnation' by Roger Miller. Select filmography: Cow (2021) Gunda (2020) Le Quattro Volte (2010) The Metamorphosis of Birds (2020) The Turin Horse (2011) River (2021) Au Hasard Balthazar (1966) Le Sang des bêtes (1949) Subscribe to Film Graze on your podcast app of choice and leave us a positive rating and review if you enjoy the show. twitter.com/FilmGraze letterboxd.com/Film_Graze/ instagram.com/film.graze/ Produced by Sam Storey

Where his prior film, the acclaimed epic AQUARELA, was a reminder of the fragility of human tenure on earth, in GUNDA, master filmmaker Viktor Kossakovsky reminds us that we share our planet with billions of other animals. Through encounters with a mother sow (the eponymous Gunda), two ingenious cows, and a scene-stealing, one-legged chicken, Kossakovsky movingly recalibrates our moral universe, reminding us of the inherent value of life and the mystery of all animal consciousness, including our own. Experiential cinema in its purest form, GUNDA chronicles the unfiltered lives of a mother pig, a flock of chickens, and a herd of cows with masterful intimacy. Using stark, transcendent black and white cinematography and the farm's ambient soundtrack, Master director Victor Kossakowsky invites the audience to slow down and experience life as his subjects do, taking in their world with a magical patience and an other worldly perspective. GUNDA asks us to meditate on the mystery of animal consciousness, and reckon with the role humanity plays in it. For news and updates go to: gunda.movie For GUNDA theatrical release go to: neonrated.com/films/gunda

This week we review Gunda, the long awaited film directed by Victor Kossakovsky and executive produced by Joaquin Phoenix. Gunda tells the story of the titular pig, her piglets, some […]

This episode, award-winning director Victor Kossakovsky (AQUARELA) talks about his new documentary, GUNDA, which was produced by Oscar-winning actor Joaquin Phoenix. GUNDA looks at the daily life of a mother pig named Gunda, her piglets, and their farmed animal companions: two cows and a one-legged chicken. Jared Milrad asks Victor about his early beginnings as a filmmaker in Russia, his views on farmed animal rights and climate change, the impact of GUNDA, and how to make our choices more compassionate and sustainable.

“Don't film if you can live without filming.” Those are the words of Victor Kossakovsky from his 10 Rules of documentary making. Those rules are the starting point for a wide-ranging conversation with Victor along with Kirsten Johnson and Garrett Bradley, moderated by Pure Nonfiction host Thom Powers. All three directors were part of DOC NYC's 2020 Short List for feature documentaries. Kirsten was previously on episode 24 discussing her previous film Cameraperson; her latest film is Dick Johnson is Dead on Netflix. Garrett was previously on episode 125 discussing her new film Time on Amazon Prime. Victor's new film is Gunda, distributed in the U.S. by Neon. In this conversation he also refers to his earlier films Losev and The Belovs.

Filmmaker Bao Nguyen profiles Bruce Lee, searching for the man behind the icon, in the ESPN documentary “Be Water.” Bao’s other films include his history of Saturday Night Live “Live from New York” and a short film about his Vietnamese-American family “Where Are You Really From?” In this interview with Pure Nonfiction host Thom Powers, Bao describes his intent to place Lee’s story in the context of being Asian-American. Bao invokes the poet Ocean Vuong in reflecting on the expectations placed on Asian-American storytellers.

'Gunda' Director Victor Kossakovsky by Chris O'Falt

In this episode, we feature a conversation with the legendary filmmaker, Victor Kossakovsky, about his recent film GUNDA.I have been a fan of Kossakovsky’s work ever since seeing one of his first films, THE BELOVS (1993), his portrait of simple village life, sometimes tender and sometimes harsh, captured mostly in a steady observational gaze until the last scene where we are shaken by the filmmakers camera work. In Kossakovsky’s latest film, GUNDA, again Kossakovsky delivers simplicity, tenderness, and a last sequence that makes the ground shake. GUNDA is not the masterpiece within Kossakovsky’s body of work, but a masterpiece of cinema. Experiential cinema in its purest form, GUNDA chronicles the unfiltered lives of a mother pig, a flock of chickens, and a herd of cows with intimacy. Using stark, transcendent black and white cinematography and the farm's ambient soundtrack, director Victor Kossakovsky invites audiences to slow down and experience life as his subjects do, taking in their world with a magical patience and an otherworldly perspective. GUNDA asks us to meditate on the mystery of animal consciousness, and reckon with the role humanity plays in it. Eka Tsotsoria moderates the conversation.GUNDA opens on December 11, 2020, for an exclusive one-week run on virtual cinema at Laemmle Theatres in Los Angeles and Film Forum in New York City.

For the 58th New York Film Festival’s final week, a group of critics gathered together for a spirited discussion with Devika Girish, Assistant Editor of Film Comment and Talks programmer for the NYFF, about the movies they saw in this year's lineup and their tales from the trenches of the pandemic-era festival. Participants included Molly Haskell (author, From Reverence to Rape: The Treatment of Women in the Movies), Eric Hynes (curator of film, Museum of the Moving Image), Ela Bittencourt (freelance critic & curator), Monica Castillo (arts and culture reporter, CPR News), and Clinton Krute (digital editor, Film Comment). Their discussion covered a wide selection of films, including Steve McQueen's Lovers Rock and Mangrove, Hong Sang-soo's The Woman Who Ran, Victor Kossakovsky's Gunda, Marie-Claude Treilhou's Simone Barbes or Virtue, Dea Kulumbegashvili's Beginning, Chloé Zhao's Nomadland, Philippe Garrel's The Salt of Tears, and many others. All NYFF58 Free Talks are presented by HBO.

Welcome to a special 58th New York Film Festival edition of the Film at Lincoln Center podcast. Today, programmer Rachel Rosen is joined by director Victor Kossakovsky to discuss his remarkable, heartbreaking documentary Gunda, which uses natural sound design and crisp, pastoral black-and-white cinematography to immerse the viewer in the compassionate tale of a sow who lives on a farm in Norway. The director discusses respecting nature, ethical considerations, how filmmaking is a powerful tool, the toll humanity has taken on the world, his unique approach to cinematography, and much more. Get tickets for tonight’s premiere at the Queens drive-in or nationwide virtual tickets at https://www.filmlinc.org

Ainara's early work includes her short documentary, Sertres and Demonstration, working with 32 students under the direction of Russian filmmaker Victor Kossakovsky. Ainara's first feature was film See You Tomorrow, God Willing about a group of Franciscan nuns which she wrote, shot, directed and edited. Her relationship with Victor Kossakovsky continued by working as First Assistant Director on his films Sports Kids: Varicella, and Aquarela, for which she also worked on Second Unit Camera and and as Editor, and the upcoming, Gunda. Ainara is also developing her second feature film called Polaris.

con Victor Kossakovsky e Catarina Vasconcelos

This week, The Film Comment Podcast reports from the Berlin International Film Festival, straight from, you guessed it, Berlin. It's one of the year's major festivals, and the 2020 edition has been highly anticipated because of its new leadership and impressive slate. We'll be talking about the highlights including new films from Christian Petzold, Hong Sangsoo, and Abel Ferrara, as well as Natalia Meta's El Prófugo and Victor Kossakovsky's Gunda. Film Comment Editor-in-Chief Nicolas Rapold is joined on this episode by FC Assistant Editor Devika Girish and FC contributing editor Jonathan Romney, to discuss Ilya Khrzhanovskiy and Jekaterina Oertel's DAU. Natasha, Hong Sangsoo's The Woman Who Ran, Fabio & Damiano D'Innocenzo's Bad Tales, and Benoît Delépine and Gustave Kervern's Delete History.

This week, The Film Comment Podcast reports from the Berlin International Film Festival, straight from, you guessed it, Berlin. It's one of the year's major festivals, and the 2020 edition has been highly anticipated because of its new leadership and impressive slate. We'll be talking about the highlights including new films from Christian Petzold, Hong Sangsoo, and Abel Ferrara, as well as Natalia Meta's El Prófugo and Victor Kossakovsky's Gunda. Film Comment Editor-in-Chief Nicolas Rapold is joined on this episode by FC Assistant Editor Devika Girish and Jessica Green, programmer and Artistic Director of the Houston Cinema Arts Society, to discuss Caetano Gotardo and Marco Dutra's All the Dead Ones, Ferrara's Siberia, Bassam Tariq's Mogul Mowgli, and Bastian Günther's One of These Days.

This week, The Film Comment Podcast reports from the Berlin International Film Festival, straight from, you guessed it, Berlin. It's one of the year's major festivals, and the 2020 edition has been highly anticipated because of its new leadership and impressive slate. We'll be talking about the highlights including new films from Christian Petzold, Hong Sangsoo, and Abel Ferrara, as well as Natalia Meta's El Prófugo and Victor Kossakovsky's Gunda. Film Comment Editor in Chief Nicolas Rapold is joined on this episode by FC Assistant Editor Devika Girish, and a few special guests. Also check out our website for more in-depth coverage on the festival and filmmakers. Let's go now to our latest conversation in Berlin.

It's Day 5 of the BFI London Film Festival. Which has been a rainy affair outside, but the films have continued to bring the energy & life to everyone in attendance. In today's episode: - Jason Reitman's 'The Front Runner' - Victor Kossakovsky's ‘Aquarela’ - Interview with Victor Kossakovsky

A powerful documentary about water in all its forms. A tour de force for the crew but rewarding, and a fascinating gift to all. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

A powerful documentary about water in all its forms. A tour de force for the crew but rewarding, and a fascinating gift to all. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

A powerful documentary about water in all its forms. A tour de force for the crew but rewarding, and a fascinating gift to all. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

A powerful documentary about water in all its forms. A tour de force for the crew but rewarding, and a fascinating gift to all. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

A powerful documentary about water in all its forms. A tour de force for the crew but rewarding, and a fascinating gift to all. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

A powerful documentary about water in all its forms. A tour de force for the crew but rewarding, and a fascinating gift to all. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

96 frames of power: the fluid majesty of water. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

96 frames of power: the fluid majesty of water. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

96 frames of power: the fluid majesty of water. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

96 frames of power: the fluid majesty of water. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

96 frames of power: the fluid majesty of water. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

96 frames of power: the fluid majesty of water. The post Victor Kossakovsky – Aquarela #Venezia75 appeared first on Fred Film Radio.

Sounds Real: Tishe! - Nicolas Rapold interviews Victor Kossakovsky and Alex Dudarev 24 November 2015 by IDFA Podcast

Highlights from 2013 Scottish Documentary Institute masterclass with Victor Kossakovsky, held as part of the Edinburgh Int. Film Festival. Video Highlights: http://scotdoc.com/MCvictor Podcast hosted by Duncan Cowles, interview held by Noe Mendelle.

Alan Berliner & Victor Kossakovsky in Conversation at the 2013 Edinburgh International Film Festival. Journalist Ian Haydn Smith and Director of the Scottish Documentary Institute Noe Mendelle asking questions. Podcast hosted by Duncan Cowles