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L'Atalante 1934
There is a moment late in the film when Jean Dasté is floating underwater and we suddenly cut to a closeup of Dita Parlo surrounded by total darkness. I can’t quite explain why, but for a moment time seems to stop inexplicably, justifying everything that came before and everything that will come after it, both for the characters and the audience alike.
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Friedkin Uncut 2018
Not the deepest of director retrospectives, but uniquely existential in how it focuses less on Friedkin’s body of work and more about how his unconventional philosophy creates a certain clarification of his own views on the human condition and how that is reflected back onto the audience.
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