Tag Archives: Form

Arrival: On Intuition, Language, and A Great Film’s Greatest Failure (Villeneuve, 2016)

In spite of dropping the inimitable Roger Deakins (Prisoners–a masterpiece–, Sicario), Canada’s leading Studio director, Denis Villeneuve, has crafted a film of bracing visual detail and innovation, using primarily push ins, pull outs, and overexposure in producing haunting images of the … Continue reading

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The Turin Horse (Tarr, 2011)

For six days, man and woman each eat a potato, and then dark silence overcomes them. Ritual figures deeply in Tarr’s observation of the death of God. Metonyms of the Lord, the horse will not eat, the wind will not … Continue reading

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Mad Max: Fury Road (Miller, 2015)

An exceptionally captivating, hyper textural example of postmodern spectacle. The film forgoes narrative intention; a negation of learned concepts allows it to breathe new and communicate by purely formal means. Rapid cutting, the representation of rapid blinking, form generative montage … Continue reading

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Birdman or (The Unexpected Virtue of Ignorance) (Inarritu, 2014)

With a theatrical presence bolstered by long take, wide-angle cinematography, the disheveled is renewed vis-a-vis the ultimate rejection of intellectual thought,critical inquiry, labels and slogans—i.e. the rejection of bullshit. A social satire directed at the superficial nature of show business, … Continue reading

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Because It’s Been Forever (Since My Last Post): 5 Issues With 3D

Don’t get me wrong, 3D has valuable attributes: it engenders a visual experience absent in that of 2D—a formal, though artificial, depth-space that seems measurable; it may be more immersive, ostensibly bringing the viewer into the picture; it serves as … Continue reading

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Four Nights Of A Dreamer (Quatre nuits d’un rêveur, Bresson, 1971)

What’s with this film?! The more it settles in my mind, the harder it becomes to think of anything else. To be sure, it’s not a perfect film, and has moments that are quite amateurish compared to Bresson’s other work. … Continue reading

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The Trial Of Joan Of Arc (Procès de Jeanne d’Arc, Bresson, 1962)

The Trial of Joan of Arc (1962), with its few settings, minimal action, and plenty of dialogue, reads more like a play than a film. Still, it retains Bresson’s particular formal style; in many ways, the extreme minimalism makes one … Continue reading

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Pickpocket (Bresson, 1959)

The first Bressonian film in this retrospective is Pickpocket (1959). It tells the story of an unemployed, but clever man, who is drawn to the life of the pickpocket. Though he does not seem the criminal-type, nor does he truly … Continue reading

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Robert Bresson Retrospective

The Pacific Cinémathèque is kicking off a Bresson retrospective. Though my work schedule gets in the way, I will try to see all 13 films — 5 of which I have previously seen. Those showings which I cannot possibly make, … Continue reading

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