Sirk meets Baudrillard. “a machine for making emptiness.”
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The Edge 1968
Ennui, but fueled by such specific American ‘60s middle-class political alienation that it transcends that demarcation. an anti-revolution movie: we get clothes in the wind when presidents should be dying, a Rice Krispies box where a revolutionary once stood. an anguished autocritique. Rawly exposed, the neurotic self-interrogation and even self-flagellation of the privileged left, trapped in its own reflexes, had a mournful song of its own to sing. common troubled doubts and ambiguities with those of Paris Belongs To Us and its haunting, lyrical shifts between abject paranoia and cozy camaraderie.
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An Image 1983
He was fascinated by the way in which “self-reflection becomes possible through this prolonged, almost symbolic act of work.
continuously sidling around the object, gradually approaching the photographic act, the photographers act as if they were performing a ritual. What Marx said about the commodity “reflecting back” to people the social character of their labor applies here to the images. What we see is the grotesque imbalance between the high degree of artificiality and the desire to create as simple…Translated from by -
Jeune femme à sa fenêtre lisant une lettre 1983
“cinema was never meant to be on the side of literature, but of painting. When you consider cinema on the side of literature and when you analyze it with a literary vocabulary you are completely missing out what cinema really is. What is a film? A consensual relationship between images that provoke an emotion, a feeling, that should in the end reach a subject. But the subject cannot be seen beforehand. When the subject is seen, the film ends. It’s…
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