COLOR FILM CHANGES EVERYTHING: FUN TIMES IN THE SOVIET UNION, BORIS MIKHAILOV’S “SUZI ET CETERA (PART 2)”

Previous
Previous

WE ARE FAMILY: MASAHISA FUKASE’S “FAMILY,” AND GUILLAUME SIMONEAU’S “MURDER”

Next
Next

THE PHOTOBOOK AS PULP FICTION, TANIA FRANCO KLEIN’S “POSITIVE DISINTEGRATION”