For a film that, on the surface, appears to be held in such high regard, Michelangelo Antonioni’s L’Avventura (1960) seems to have distanced itself from a number of its audience. While I often wish to adhere to the third person in criticism, this article cannot help but revert to a personal reception of the film and also refer to recent personal reflections shared online. After … Continue reading L’Avventura (Michelangelo Antonioni, 1960) – A Curious Distance.
Its geography is stark, rugged and eerily inviting, its characters are sickly happy and lying through their teeth and its narrative is immersive and questioning to the point where its finale is deeply affecting and horrifying. It’s a crying shame that viewers of The Wicker Man (1973) will never fully see the film as its director intended. Having been slashed to bits by the studio … Continue reading The Wicker Man (1973) – Defining Of The Folk Horror.
Alejandro Jodorowsky’s El Topo (1970) has rightly earned a place in the pantheon of cult cinema. Watch any number of documentaries or interviews with the man himself and the film will often stand proud as the pioneer of the “Midnight Movie”; a film obviously shown late due to its content but also exuding free reign over all of its creative aspects. Researching further into the … Continue reading El Topo and The Lamb Lies Down On Broadway (Jodorowsky and Gabriel).
While trailing through the film work of Pier Paolo Pasolini, it becomes clear that the director has an eye for capturing specific moments that manage to visually remain with the viewer. Whether it’s the floating maid in Theorem (1968), the walking on water in The Gospel According to St. Matthew (1964) or any number of images from Salò (1975), the director is often defined by … Continue reading Landscapes of Pasolini (Oedipus Rex, Theorem, Pigsty).
This article contains spoilers. For a film named after a jazz standard, Abbas Kiarostami’s Like Someone In Love (2012) plays very little with the notion or question of music and sound. Recalling the film only brings to mind one scene where music is used as a narrative ploy while the rest of it is more occupied with something more visually typical. This perhaps begs a … Continue reading Like Someone In Love (2013) – Visual and Emotional Reflections.
Cause and effect may not perhaps be the first aspect that comes to mind when considering Ben Rivers’ feature debut Two Years At Sea (2011). Yet, looking at the implications of the lifestyle on show, itself a deliberate effect of causation from working at sea for two years to be able to afford to live a more isolated life, there is a great sense of … Continue reading Two Years At Sea (Ben Rivers) – Geographical Solitude and Company in Objects.
Pat Collins may perhaps be better known for his engaging documentaries but this year sees the release of his debut feature film in the UK. Silence is a stunning debut film, full of philosophy, poetry and visual beauty. The film shows a confidence within the new form as well as an expert use of layering different emotions and textures upon one another. A full analysis … Continue reading Interview with Pat Collins (Silence, 2012).
Nostalgia can manifest in many forms at the cinema. Sometimes it can be overt, sometimes it can be unconscious but film is most definitely the medium to explore its inner workings. A number of films have recently used sound, not just in an interesting way, but as a major part of the narrative and character focus whilst touching upon nostalgia. These range from the superb … Continue reading Silence (Pat Collins, 2012) – Landscape and Nostalgia.
This article contains spoilers. Cinema was built for dreams. It’s almost cliché now, adding dreams, dream sequences, dream-scapes; endless tumbling ambiguity to add depth and distance to a film. Nicolas Winding Refn’s Only God Forgives (2013) is not a dream in the sense of Inception (2010) or Spellbound (1945) but more in the sense of a light day-dream inciting calm before a violent storm. On … Continue reading Only God Forgives (Nicolas Winding Refn) – Violent Sonatas and Dreaming in Colour.
Part 1 Part 2 Part 3 The Reception of Blue in New Technological Forms and Contexts. “The degree to which the spectator identifies with the diegesis as his/her own hallucination fluctuates from spectator to spectator, from narrative moment to moment, from genre to genre.” (Gorbman, 1987, p.45). It is very hard to experience Blue today in the intended format that Jarman produced it in. This … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 4 (New Technological Contexts).