#tao films vod

[slow-cinema]

NOW on tao films: 1000 Smiles Per Hour, a contemplative short film by Fabian Altenried. Check it out! https://tao-films.com/film/1000-smiles-per-hour

[tao-films]

Coming soon...

[festivalists]

The tao of cinema

In France in the 1950s, it was completely normal for a cinephile to turn into a film critic and/or a filmmaker. Nowadays, however, professional opportunities in cinema are getting more and more limited, so cinephiles take alternative routes – for example, the last few years saw the rise of numerous VoD initiatives around the globe. One of them, tao films, has a very interesting story, as it was crowd-funded and launched by Nadin Mai who is a scholar and writer, known for her blog The Art(s) of Slow Cinema. See what she has to say about her beautiful and brave initiative in an interview with our editor Yoana Pavlova.

Yoana Pavlova: You have been championing the cause of slow cinema as a writer for years, where did the VoD idea come from? Did you feel like your blog has reached a critical mass of readers who would easily turn into viewers, or it was rather an urge to take things in your own hands?

Nadin Mai: The starting point for the VoD was a film I had received almost at the beginning of my work on The Art(s) of Slow Cinema. Zhengfan Yang sent me a screener for his film DISTANT / YUAN FANG (2013), which contains a mere 13 takes over the course of almost ninety minutes. It was a wonderful film, but I had not heard about the director at all up to that point. I wrote about the film on my blog and published an interview with Zhengfan, after which I received many other films by directors who were struggling to find an audience for their films. They hoped The Art(s) of Slow Cinema could generate exposure. And it did. Viewers began to email me over the years to ask where they could see the films I had been reviewing. It has become pretty easy to access films by Béla Tarr, Tsai Ming-liang, Albert Serra, even increasingly by Lav Diaz. But what about those unknown, very young directors from around the world who had contacted me? That was the beginning of tao films . It is an attempt at bringing directors and viewers together. It was a strike of luck, if you want to see it this way. Or maybe it wasn’t. Somehow I think that it was a natural development. Throughout my PhD research and my work on my blog I had noticed the demand for slow films. I am not even speaking of a great demand. tao films is and will remain a niche project for a niche market. But I find it important that talented filmmakers have the opportunity to show their films, and that viewers are given the chance to see those films.

YP: As we recently exchanged on Facebook on the topic of female film critics and the way the industry treats them (us), I would like to ask you also to what degree your decision to change the course of your career came from the experience of being a woman who wants to say something different about cinema, or to make a difference in cinema

NM: That is a very good question, and a timely one, as I never bothered about this male-female divide until I entered the PhD, and saw and felt just how little female academics are valued in new, emerging subjects (and surely in all other fields, too). When I started my research into slow cinema in 2010, and began serious work on it in 2012, the subject was still low-key in scholarship. There were plenty blog posts and forum entries on slow films or slow-film directors, but academia was pretty slow (fitting choice of words here!) in picking up the subject. I have done a lot to advance the field through my blog. Now, five years later, you find a lot of material on slow cinema in academia, but you won’t find my name anywhere. I have written about the subject on my blog from new and fresh angles but have been rejected by journal and book editors, who then merely recycled old, already known material instead of advancing the subject. Slow Cinema scholarship is a territory for male scholars who only quote one another. You find the same names wherever you go. I have come across two male scholars who took my work and presented it as theirs, without so much of a hint at where the material is really from. My work is out there, just not my name, and this is incredibly frustrating. Five years, and zero acknowledgment in academia. Absolutely zero. I am invisible. You are right, I changed tracks in parts because of this. My work was cherished and welcomed by the “ordinary” people. They were grateful, got in touch, and I had wonderful and insightful discussions about the experience of slow cinema with my readers, something I had never experienced in academia. I am not in for the money, or for becoming a Professor of Slow Cinema at some university. But a little gratitude for my work would be nice, or would have been nice. I now focus on where my work can make a difference, and this is with tao films.

YP: Slow cinema is usually being associated with a very particular cinema-going culture, with the eventization of festivals and exhibition spaces. How do you think home viewing might change our approach to slow cinema? What would happen if we no longer consider it high-art and appropriate it in our everyday life?

NM: I would think that it is wrong to consider slow films as festival films only. Of course, you find many of them at festivals. But to me, there is another side to this, and this is the fact that only a minority of the viewers attends festivals. One could argue that especially the major festivals always have a high attendance. This is true. However, who are those festival goers? I would say that the majority are locals, or those who have the money to travel around the globe to attend film festivals. We must not forget that festivals are not cheap. I went to Locarno in 2014 and it broke my bank. The Berlinale in 2015 was very expensive even though I had free accommodation at my sister’s. The issue with festivals is that a lot of them are for a selected circle of people, namely those with money. I do not want to say that festivals should be cheaper, more accessible, etc. I am merely stating a fact. Festivals cost money, that goes for everyone involved. So unless you have the money to travel around, you have to hope that a film you are dying to see comes to a festival near you. This waiting game is usually not very successful. So yes, slow films are shown at festivals, but who sees them? How many viewers does the average slow film – I am not speaking of films by the big directors like Tarr and Diaz – have at a festival? I am aware that home viewing is not ideal. Film needs to be experienced on a big screen. I find that this is even more true when it comes to slow films, because the combination of a big screen and a dark room facilitates contemplation. But I believe that, for now, home viewing is the future for the next generation of slow-film directors. I hope that I can revise this statement in a couple of years, because I think that the films should be watched in a different environment. At the same time, distributors and exhibitors are still shying away from showing films that may not make the big bucks. But, you know, this is not only a debate about the economics of cinema, it also has a lot to do with ourselves and what we think cinema should be like.

YP: The majority of VoD channels that appeared recently (and enjoyed certain English-language publicity) are based in the US, mostly in New York, whereas EU seems to offer a huge variety of films, yet the market feels over-regulated. In France, for example, where we both happen to live right now, there is this public understanding that the state must fund everything related to arts and culture, but at the same time, as we know, these mechanisms are sluggish and demand good connections with the establishment. What is your take on this matter? Is this why you decided to resort to crowd-funding for tao films?

NM: I went for crowd-funding for a very simple reason: if it is difficult to have slow films shown anywhere (because they are too slow or too “boring”), then it would be difficult to find someone external to invest in this project. tao films was always meant to be a platform carried by filmmakers and viewers alike. I wanted these two groups of people to make this project happen, because it meant that I already had an audience for my films. If you help financing a slow-film VoD, you will definitely drop by and see a couple of films in future. If I had external funding and set up the platform just like this, I would have had little idea about the possible (moral) support of a slow film VoD out there. For me, crowd-funding was a more solid gathering of statistics, in a way, of how large the interest in a project like this is. Another aspect that was important to me was that I wanted to be independent. Independent in two ways: an external funder can, because s/he invests money in your project, demand changes to your work. I wanted to avoid this. Again, tao films is a platform for filmmakers and viewers. They carry the platform, and I will try my best to protect this approach. Second, I see a lot of VoD platforms which are dependent on regular funding from culture ministries. We know that when governments need money, they cut it from the arts first. VoDs which run on government funding always have to worry that they will not make it into the next year. I do not know whether you have read the news that Trump is rumored to eliminate the National Endowment for the Arts and Humanities. This is only the most recent example that shows that if you have external funding, your work, your project, your baby, becomes a ball in a political match between parties. I didn’t and still don't want this to happen to tao films.

YP: As someone who often advocates about the importance of web 2.0 in the work of critics and researchers, I face plenty of skepticism, however, it is undeniable that social media is crucial in crowd-funding campaigns. What was your experience throughout the process?

NM: I am not sure I could have managed the crowd-funding campaign without social media. I have to admit that social media, especially Facebook, stresses me out sometimes, and I need a break from time to time, where I shut down everything and just take it slow instead. But the truth is that if you do work like I do for tao films, for example, you are dependent on social media. Our viewers sit in all corners of the world. How would I reach them and bring them together if not with social media?

YP: How difficult was the technical part in setting up tao films as a fully working website and VoD service?

NM: I cannot tell you much about the technical parts behind tao films. My brother designed the website from scratch. He is an IT expert and worked for months and months on getting everything right. We have our own player on the website, because there are so many hacks now on how to grab films from Vimeo and YouTube. We could not use those players if we wanted to make the films we show a little safer from pirates. It was not easy, I can tell you this much, and I am very grateful for my brother’s work. People are enjoying the site and the films so far, so that is a good thing!

YP: Could you please elaborate on the first selected titles, what was your curatorial approach?

NM: I wanted tao films to offer films which share certain themes. For some reason, I could not find one for the first season. Maybe I tried too much. I knew that Scott Barley’s SLEEP HAS HER HOUSE (2016) needed to be in the first season, because he had just finished the film and we wanted to offer a world premiere. Then I went by personal preference, and thought that I should just offer a mix of films for the first season. It turned out that my laissez-faire attitude brought together six films which deal with memory in one way or another. I found it interesting just how different the approaches were. You have one film that has no dialogue at all, the images are experimental, and you have to find your way through it (Scott Barley’s SLEEP HAS HER HOUSE). The opposite is METROPOLE (2015) by Ozal Emier and Virginie Le Borgne, in which a protagonist, a man, having emigrated, is haunted by his past, speaks on camera about it. We have a character we can identify with, we can see and feel his suffering. Sorayos Prapapan, a director from Thailand, does not allow us this access in A SOUVENIR FROM SWITZERLAND / KONG FAK JAK SWITZERLAND (2015). We hear the story of an Afghan filmmaker-turned-refugee through a voice-over. What is this "souvenir"? The memory of the director's encounter with his friend who is now a refugee? Or the drink Sorayos brought home for his friend? CENTAUR (2016) by Aleksandra Niemczyk, mentored by Béla Tarr, is perhaps not straight-forward a memory piece, but in her interview Aleksandra described the film as way to deal with her grandpa's memories of suffering from polio. Film becomes a way to "imagine" this difficult period, it is a means to voice her grandpa's suffering. And then there is OSMOSIS (2016) by Greek director Nasos Karabelas, of which I never quiet know what to say. The philosophical voice-over is heavy. It makes you think, it makes you dig into your past, our past. Again, this might not be overt at the beginning, and perhaps you need a while to see it just as I did. Perhaps, Liryc de la Cruz’s film THE EBB OF FORGETTING / SA PAGITAN NG PAGDALAW AT PAGLIMOT (2015) is the film that deals most evidently with the subject of memory, very much in the vein of Lav Diaz.

YP: When most VoD platforms appear, they try to create a shared cinephilia space for viewers, i.e. publish original features, interviews, and audiovisual essays to accompany the films. In the case of tao films, that space was there before the films. How do you see your role now, as a writer / critic / researcher?

NM: In a way, nothing is changing with tao films. I see my role still as a writer and researcher. All films we offer will be reviewed on The Art(s) of Slow Cinema in order to increase their exposure and attract more viewers. We do offer interviews with our directors on the tao films website already, and a brief introduction. But main reviews will appear on my blog. We want to keep the actual VoD website as simple and as zen as possible. No clutter! You are right, the space was there beforehand, and this is, I believe, what makes tao films a comparative success. I built up an audience over the last five years. The blog is still going strong with almost 4 000 views a month. I cannot drop it but will instead merge it with tao films. The blog is supposed to move later on and be integrated into the website. That was the original idea. Then again, who knows what will happen?

YP: Could you please tell me a bit about the first weeks of the service since the start on January 1st, the feedback you have received so far, your professional plans for the future?

NM: I am happy to say that we have almost 200 registered viewers, which, I think, is a success given that we are tending to a niche. Our viewers come from several countries, from the US, from Europe, and from Asia. I am very happy about that. As far as I can see, our platform makes for good weekend entertainment. We have more sales between Friday and Sunday than during the rest of the week. That means people take their time for the films, which is good. The feedback has been good so far. People enjoy the selection and the fact that they can finally see films that are not shown in their local cinemas. We have a few special themes planned, such as a focus on film.factory or a special on women directors. I hope people will join us on our slow way to slow film :)

[hellosaltysaladcollectionstuff]

"So I know you finished the investigation… I'd like to know what you plan to do…" Cinedigm has released an official trailer for an indie thriller titled River Runs Red, from writer/director Wes Miller. The crime drama is about a successful judge whose son is killed by two police officers, and the system sets them free. While a hardened detective works to find incriminating evidence from the officers, the judge teams up with another grieving father to take the law into his own hands and go after the officers. Starring Taye Diggs, with John Cusack as the detective. The film's cast includes George Lopez, Luke Hemsworth, Gianni Capaldi, Briana Evigan, RJ Mitte, Steven Berrebi, Jaqueline Fleming, and Jennifer Tao. This is one of those trailers that pretty much shows the entire film, so watch out, because there's not much to show.

Here's the first official trailer (+ poster) for Wes Miller's River Runs Red, direct from YouTube:

River Runs Red follows respected Judge Charles Coleman (Taye Diggs), who has devoted his life to law enforcement. When his son is shot bt two police officers in a traffic stop gone awry, Coleman turns to his long-time friend, Detective Horace (John Cusack), and discovers an unchecked pattern of violence with these same cops. Betrayed by the system he swore to uphold, Coleman joins forces with another bereaved father (George Lopez), and the two men take the law into their own hands. River Runs Red is both written and directed by American filmmaker Wes Miller, director of the films Lily Grace: A Witch Story, Prayer Never Fails, and Atone previously, as well as a few shorts. The film hasn't premiered at any film festivals. Cinedigm will release Miller's River Runs Red in select theaters + on VOD starting November 9th this fall.

from FirstShowing.net https://ift.tt/2xCpdYW

[slow-cinema]

Very proud! My VoD platform for Slow Cinema receives a lot of good feedback. Catch one of our films or get yourself a subscription to our platform! http://tao-films.com

[slow-cinema]

“I film over large (sometimes too large) periods of time. It was very important for me to film with a big camera. I didn’t want to hide the fact that I am filming and I don’t believe in that “fly on the wall” story. Claire Denis once said: “Film famous people with small cameras and unknown people with big cameras”. The presence of the camera always modifies a situation, sometimes in a violent way. A lot of moments in the film were provoked by the presence of the camera. That was an important point.“

New film now available for streaming on tao films: EL CORRAL Y EL VIENTO by Miguel Hilari from Bolivia. https://tao-films.com/film/el-corral-y-el-viento

[slow-cinema]

Today in our very special advent calendar, a film from Colombia that really struck me the first time I saw it. OD-EL CAMINO (2004) by Martin Mejia is a trip through landscapes and atmospheres, a trip of a father to save his son. Watch the film now for 1€ until midnight CET!! https://tao-films.com/advent/4037e5e5-32b3-4d1d-bf0c-c09045a44317

[tao-films]

The Pledge, a short film by Christos Gkotsis. Now running on tao films *for free*! https://tao-films.com/film/the-pledge

[slow-cinema]

Only 5 more days until Christmas, so 5 more films available as part of the Tao Films VoD Christmas special. Today, we have BRUSSELS NOTES by José Fernandez in stock for you. You’ve got mail ;)  Watch the film now for 1€ until midnight CET!! https://tao-films.com/advent/db32063f-c444-4470-ab16-f6d2956b8641

[slow-cinema]

Yesterday was Holocaust Remembrance Day and tao films is proud to have FEAR by Janos Kis in its repertoire that deals with the subject of memory, of forgetting, and of remembering in its own patient way. Join us in remembering what has been, and in the fight against a return of atrocities around the world.

https://tao-films.com/film/fear

[tao-films]

“Set in the lower Himalayas, Yudhajit Basu’s short film Khoji is an ominous piece that uses the violent history of its people as a background in order to explore (and explain, perhaps) the people’s struggle today. And yet, this history is visually absent from the screen. In carefully framed long-takes, Basu lets the images speak as well as the dialogue in which parents consider sending their daughter to the city because it is no longer safe where they live. Or a dialogue in which a brother, almost surprised, asks his sister whether she wasn’t aware of what was happening in the neighbourhood. Something is happening; it hovers over Basu’s film, over every frame. The director suggests rather than tells, using still and quiet imagery that show resemblances to some of the big names in Slow Cinema.“ (Nadin Mai)

Watch Yudhajit Basu’s KHOJI now on tao films! https://tao-films.com/film/khoji

[slow-cinema]

From Italy to....the Himalayas! Today, we're showing QUIRO by Yudhajit Basu from India, whose collection of short films has impressed me from the start. A talented director, who deserves to be put on your watch list for upcoming releases! Watch QUIRO now for 1€ until midnight CET!! https://tao-films.com/advent/96389ac6-11d5-4858-bc5a-1a4c641f406b

[slow-cinema]

We're SO close to Christmas! 🎅 Our 21st film this month on tao films is Kevin Pontuti’s PESCARE, one part of the director's "Poetry of Penance" series that commenced with ONERE (back soon on tao!). Watch Pescare now for 1€ until midnight CET!! https://tao-films.com/advent/27d2597c-e166-4fbc-bd7f-7d45fde78042

[tao-films]

“Byron Jones is a two-hour long portrait of an elderly man. We see him sleeping, showering, preparing meals, eating. In particular the last two daily habits might evoke in some viewers the memories of Chantal Akerman’s Jeanne Dielman; the almost hyper-real depiction of a woman’s day-to-day going ons. Jones, a widow perhaps, lives alone, which the director enhances with an almost oppressive silence that characterises the man’s solitude. With his insistence on showing Jones’ daily activities in detail through the use of almost extreme long-takes, Pant has created a hyper-real portrait not only of Byron Jones, but of most of us.“

Watch BYRON JONES by Ashish Pant now on tao films, the VoD that specialises in contemplative cinema! https://tao-films.com/film/byron-jones

[slow-cinema]

“This film poem about the sea is a visual invitation to an imaginary journey through the landscape of waves along the Atlantic coast. Or as Herman Melville writes: "Let a distracted person sink into deep dreams... And, invariably they will lead you to water... Yes, everyone knows that meditation and water are closely connected!" The sources of inspiration for our film flow of film pictures were the "soul images" described by Melville in MOBY DICK and the rhythmic and powerful music of composer Misato Mochizuki.”

Watch MEER by Wolfgang Lehmann and Telemach Wiesinger now on tao films for 1€ until midnight CET!! https://tao-films.com/advent/30ae9f09-17c8-4ed9-912c-a3f4440fd240

[slow-cinema]

Day 6 in our tao films advent calendar: we bring to you Salvatore Insanna’s INGANNI, an experimental short film from Italy. Check out the film on our website. You can watch it for 1€ only, but only until midnight CET!!

Watch the full film here: https://tao-films.com/advent/1fbd00f2-f098-4ea1-aac1-310aa7dcc42b