Other forms were near.
His soul had approached that region where dwell the vast hosts of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading out into a grey impalpable world: the solid world itself, which these dead had one time [...]
Scorsese’s film develops in parallel with Lionel Dobie’s large canvas as the painter builds it up in thick, muscular layers over three weeks leading up to an exhibit.
We see the painting in various stages as the figure of a suspension bridge eventually comes into view, and Scorsese, here working with Nestor Almendros, draws on a [...]
. . .
Je disais: pas un art, ni un technique, mais un mystère.
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Perhaps it’s best to understand the intensity of Finney’s performance as a form of defense, an intimate, idiosyncratic citadel against the forceful encroachments of metaphor. Finney’s face, his unsettlingly foreign gesticulations, the fact of his body: all withstand the immutable, immaterial forces of the Volcano, the Day of the Dead, even Mexico.
The Hands of Orlac we [...]
. . .
. . .
“Big screen, in color . . . European films, double feature.
NT$300 each, 900 for three.
Up there, eleventh floor. An empty building is the best for this.”
par exemple
par exemple
pour moi
le grande histoire
c’est l’histoire du cinéma
elle est plus grande
que les autres
parce qu’elle se projette
Episode 4A: La Monnaie de l’absolu
“I envy Hayao in his ‘zone.’ He plays with the signs of his memory. He pins them down and decorates them like insects that would have flown beyond time, and which he could contemplate from a point outside of time: the only eternity we have left. I look at his machines. I think of a [...]
Volatility in framing and movement.
The insoluble tension of round and straight at the film’s structural center, the hopeful site of domestication, renders futile the attempt to fix a position from which order can develop outward.
Only a few nature-images work to contest the rest of the film’s weightless, titillating brutality.
Notice the genuine, if accidental, debasement of composition, its low end:
Otherwise:
and so on
This is less a matter of morality – of justifying cruelty or condescension – than one of aesthetics. Or, an indifferent aesthetic – the [...]
A horizon at dawn. Philip Glass’s conspicuously Western “opera” of chimes and strings builds to a crescendo, its peak timed to the red sun rising over a swath of clouds, just as the title emblazons the screen, ”poetry written with a splash of blood.”
We see at the start a violent, alarming, ecstatic “vision” to which we’ll [...]
Michel Chion:
Listen with your eyes, tuning in to what happens in the image, its rhythmic modulations and vibrations, and you will notice variations, waves and movements perceptible only by not looking.”
Béla Balázs:
The camera close-up aims at the uncontrolled small areas of the face; thus it is able to photograph the subconscious.”