Tag Archives: long take

Sátántangó (Tarr, 1994)

Tarr’s poetic vision, a realism so uncanny, so surreal, so alive, is realized in each and every frame of the film, only minorly slighted by Tarr’s undeniable social-satirical agenda. This affectation of his work, which is exceedingly present in his … Continue reading

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Sátántangó Explained (Tarr, 1994)

There are many people who think the end is the beginning. It is not. At least not in the diegetic sense. The end is exactly as the doctor describes: 13 days after he is hospitalized. That is, 13 days after … Continue reading

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Ordet (Dreyer, 1955)

Such perfect mastery of time and rhythm perhaps unequaled in cinema. A chamber drama with few scenes, each austerely captured by the observing and detached gaze of a languid camera, which carefully tracks the actors deeply nuanced performances in long … Continue reading

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The Long Take and Mindfulness

Branching from my recent post on the film cut and mental anxiety, I’d like to now put into context the opposite phenomenon, the link between long takes and mindfulness, a notion that often leads to theories on the therapeutic value … Continue reading

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The Film Cut and Mental Anxiety

The cinema is conscious. This is not a novel idea. There has been much discussion of this in the world of film theory. The cinema is not only reflective of visual culture but an instance of our own reality. In … Continue reading

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Rope (Hitchcock, 1948)

Perhaps Hitchcock’s finest moment, a surreal blending of theater and cinema. Sound and image become one. Articulate dialogue keeps the viewer utterly entertained. With scenes such as Brandon playing with the rope once used to kill, a metronomic rhythm increasing … 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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Brief thoughts on Hou

There’s something quite awkward, even unrefined in the long takes of Hou’s more languid, observational films, especially those regarding youth culture, and yet this restrained approach to the quotidian somehow has an inescapable power of attraction. At times bizarrely mundane … 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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Before Midnight (Linklater, 2013)

The latest installment of Linklater’s Before… triptych has our atypical romantic-comedy duo Jesse (Ethan Hawke) and Celine (Julie Delpy) in the Peloponnes towards the end of the summer. Now together—and with twins—they fight about the hardships and sacrifices each have … Continue reading

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