This website originates from research for my doctoral thesis into the phenomenon of Slow Cinema. At first, it was dedicated exclusively to research and a sort of dumping ground for ideas regarding the specific approaches I was considering for my own work. The longer I’m using this website to publish material on Slow Cinema, however, the more it becomes a more general website that contains all sorts of things on Slow Cinema; book reviews, film comments, interviews with filmmakers, and thoughts that stem from my research. It is, if you want to call it this way, an all-rounder among the slow websites.
To give you a bit of background material, though, I should say that there has been an increased awareness of slowness in film since the early 2000s. While the concept of long-takes and minimalism isn’t new, critics such as Jonathan Romney helped moving it into public sight. Slow Cinema, a limited, and hence debated term, has become the catch word of the last decade. It is often characterised by the use of long-takes, little use of dialogue and/or music, the use of non-professional actors playing empty and/or lonely characters, and – in some cases – by the sheer description of “this is boring”.
To me, Slow Cinema is more an experiential film form. Finding a definition is exceptionally difficult. This is perhaps mostly because “slow” is relative, so Slow Cinema is relative, too. What slow means to one person, may in fact be fast to another. I’m now very used to slow films. It is difficult for me to still see the slowness in there. For me, it has become “normal”. I therefore try to explain Slow Cinema via different routes, sometime through art, sometimes through literature. I try to draw parallels in order to get to the bottom of the Slow Cinema experience.
In that sense, I hope this website is useful to you, the reader. Let’s be slow together!
If you have any questions, concerns or film recommendations, please do contact me via email@example.com
P.S.: If you’re really into reading those things, you can download my CV here.