***Lincoln (Positif, Feb. ’13, N.624) w/ Actualité Critique by Christian Viviani, Les Moyens de la Fin.
***Lincoln (Trafic, June ’13, N.86) w/ an Essay by Bernard Benoliel, Lincoln center. À propos du film de Spielberg et de quelques autres.
“It was simply easier for me to work with historical and literary figures … so I could focus on atmosphere, on details, on things I love better than just showing the plot or trying to give information about the characters. With these characters you have more or less all the information and, well, then I can do whatever I want, I am free and I don’t care about being more or less faithful to the original source or character that comes from literature or history.” (The Beauty of Horror and the Horror of Beauty, Cinema Scope N.56).
“World cinema today finds itself in much the same place: films must dress up their culture of origin in the same ways that will most appeal to the cultural elite who make up film festival selection committees and audiences, a situation which has hardened into a set of rules that are every bit as dogmatic as those kept in place to ensure Hollywood blockbuster turn appropriate profits on their nine-figure investments.”
“Those that lament about the death of cinema, decry its rigid formatting and lack of audacity and freedom, ignore or refuse to see the films and the methods of Miguel Gomes, Albert Serra and Lisandro Alonso and a few other young cinéastes who for them the cinema is a collective experience that is vivifying and intrepid. Mark Peranson knows this. In his role as a film critic he has followed and brilliantly commented upon this fringe «jeune, pure et dure» of the cinema for these last ten years in his magazine Cinema Scope, which is actually the best one in the world. It's a sign-post for the creation and defense of these of new cinematographic forms."