Tag Archives: formalism

The Hateful Eight (Tarantino, 2015)

The 70mm is glorious, though Tarantino does little to use the medium to his advantage. Snowfall is visceral and the actors pop off the screen, but with so much of the film set in a cabin, it feels that 70mm … Continue reading

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Under The Skin (Glazer, 2014) – Two Viewings

I saw Under the Skin back in September (2013) at TIFF. I wrote a capsule review for Next Projection that night, and felt that I had given too little time to digest such a complicated work. For months after, my … 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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Bresson, Ranked

“Make visible what, without you, might perhaps never have been seen.” Bresson’s style of accentuating minimalist details — closing up and slowing down on body parts or material items — repletes his films with a transcendental slowing down of one’s … Continue reading

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Lancelot du Lac (Bresson, 1974)

Lancelot du Lac (1974) is the last feature film of Robert Bresson that I am to see (although I have yet to re-watch and review Au Hasard Balthazar [1966]). Set in the medieval age, the story tells of the Arthurian … Continue reading

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Les dames du Bois de Bologne (Bresson, 1945)

Les dames du Bois de Bologne (1945), his second feature, is unlike any other film by Robert Bresson. Frankly, it is his most conventional film, besides the (short) slapstick comedy, Public Affairs (1934). There is little if no poetry, subtext, … Continue reading

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The Long Day Closes (Davies, 1992)

The lighting in The Long Day Closes (1992) is nothing short of brilliance. For it alone, this film is well worth seeing — a must for any avid cinephile. The specific high key lighting, both off and on screen — … Continue reading

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Les anges du péché (Angels of the Street, Bresson, 1943)

Bresson’s first serious work, Les anges du péché (1943), is all but missing his ascetic film tendencies. While absent is Bresson’s stylized punctuation — elliptical scene cuts, meticulous sound edits, and hauntingly poetic images — the film retains his sensibility. … Continue reading

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Mouchette (Bresson, 1967)

Mouchette (1967) tells the heart-wrenching story of a young girl tragically forced to grow up too soon. With a dying mother, alcoholic father, and a baby brother to take care of, Mouchette (Nadine Nortier), a mere teenager, is trapped in … Continue reading

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Diary of a Country Priest (Journal d’un curé de campagne, Bresson, 1951)

A performance of austerity on the subject of austerity. A filmmaker practices austerity to create art; a priest (Claude Laydu) practices austerity to instill faith: both seek to fluorish growth amidst the people. The ascetic habits and characteristics of the … Continue reading

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