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\u2022 RIP B\u00e9la Tarr<\/a>. I came late to Tarr’s films, he’d retired from directing by the time I worked my way through most of his oeuvre in 2019. As I’m always saying: better late than never. What I never expected from reading reviews was the irreducible strangeness at the heart of the later films, as well as their meticulous construction. With regard to the latter, mention should be made of the director’s regular collaborators: \u00c1gnes Hranitzky (wife, editor and co-director), L\u00e1szl\u00f3 Krasznahorkai (writer), and Mih\u00e1ly V\u00edg (composer).<\/p>\n More Tarr: “The whole fucking storytelling thing is everywhere the same. That\u2019s why I decided I have to do my movies.” Tarr talking to R. Emmet Sweeney<\/a> in 2012; and at Criterion, B\u00e9la Tarr: Lamentation and Laughter by David Hudson<\/a>.<\/p>\n \u2022 “When [Fela Kuti] first saw Lemi Ghariokwu<\/a>\u2019s work, he said, \u2018Wow!\u2019 Then he plied him with marijuana and asked him to design his album sleeves. The artist recalls their extraordinary partnership \u2013 and the day Kuti\u2019s Lagos HQ burned.”<\/p>\n \u2022 At Smithsonan Mag: “Hundreds of mysterious Victorian-era shoes are washing up on a beach in Wales. Nobody knows where they came from<\/a>.”<\/p>\n \u2022 At Ultrawolvesunderthefullmoon: The collage art of Wilfried S\u00e4tty<\/a>.<\/p>\n \u2022 At the BFI: Leigh Singer<\/a> selects 10 great Lynchian films.<\/p>\n \u2022 At Unquiet Things: The vast luminous art of Andy Kehoe<\/a>.<\/p>\n \u2022 At Dennis Cooper’s it’s another Jan \u0160vankmajer<\/a> Day.<\/p>\n \u2022 New music: Light Self All Others<\/em><\/a> by Tarotplane.<\/p>\n \u2022 At I Love Typography: Heart-shaped books<\/a>.<\/p>\n \u2022 At Colossal: Luftwerk<\/a>.<\/p>\n \u2022\u00a0Sailin’ Shoes<\/em><\/a> (1972) by Van Dyke Parks | Dead Man’s Shoes<\/em><\/a> (1985) by Cabaret Voltaire | New Shoes<\/em><\/a> (2007) by Angelo Badalamenti.<\/p>\n","protected":false},"excerpt":{"rendered":"