See previous post on Deleuze and the crystal image as it applies to this film. The ashes in the first shot of the film shifts to sweat via dissolve. The…
Highly intertextual, referencing All About Eve, A Streetcar Named Desire, and Almodóvar’s own work, not to mention the form of the soap opera. Early shot in the kitchen highly reminiscent of Jeanne…
“Time is out of joint,” the opening states, while bombing graveyards in black and white. After this abstract, violent prologue, a remarkable crane/dolly shot takes us from outside a chateau…
Memory – theme song of Perfidia. WKW’s obsession with eating (too much). One night stands – nothing lasts forever. See slow-motion and freeze frames in the restaurant. This is less of…
This one is textbook, one that teaches itself. We get the opening image of an extreme-closeup of an eye, a nod to Vertov, then followed up very shortly by a…
The opening long, slow zoom onto the exterior of a house, tilted toward an upper floor, tellingly suggests what at least will be the style of the film to come,…
The child scrounger is about as “neorealism” as it gets, pointing toward his counterpart in Buñuel’s Los Olvidados from a couple years later. And it’s not neorealism without a heavy dose…
The nearly incessant radio static provides a sonic point of reference for the ongoing, inane search that is (or appears to be) the film’s narrative. As if to warn Western audiences…
Called by Joe Kickasola, “Kieslowski’s great formal experiment,” this one features consistent shots of abstraction both at the levels of both form and content. The tilted and upside-down shots formally…
