tag:blogger.com,1999:blog-182527402024-03-07T00:55:44.775-08:00KINO SLANGAndy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.comBlogger520125tag:blogger.com,1999:blog-18252740.post-80355257427527328102024-01-08T16:55:00.000-08:002024-01-08T17:59:55.005-08:00<span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEirlj-L85BkVJGSschLuH__w9sbnd-6wAtZs68PhOcGoOlev4rPjLNeamT3jBkikOeZuwHzps9UcKs0qqVNgl6YmUhx5tpxEB-PNrcCzR6ECOJbkyEmy3EYqJzKUl_mycEwBXy46jvvPYH--pK3W0xCIb--awVK0q_XcgTHTIV8JRDHmxLrFIKt" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="469" data-original-width="614" height="391" src="https://blogger.googleusercontent.com/img/a/AVvXsEirlj-L85BkVJGSschLuH__w9sbnd-6wAtZs68PhOcGoOlev4rPjLNeamT3jBkikOeZuwHzps9UcKs0qqVNgl6YmUhx5tpxEB-PNrcCzR6ECOJbkyEmy3EYqJzKUl_mycEwBXy46jvvPYH--pK3W0xCIb--awVK0q_XcgTHTIV8JRDHmxLrFIKt=w511-h391" width="511" /></a></div><br /></div></div><span style="font-family: Arial Narrow;"><br /><br /></span></div><span style="font-family: Arial Narrow;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhvQ_PfPe_1ajXv5QIgqOUCS0h2nshQ-bwhqsu6DSQgLqcZHMnc005i6JzJy7oelIMaZ5URc69DShy19gB5pWdHLLjUaqIfV3s12NmxM77oCsma6oPuvLHSTBfpCUF2nIx-SBHzxt059epLfisgEDmRpBahHSWQPZn7PYEMSlYAVzSMYH6z57wk" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial Narrow;"><img alt="" data-original-height="1080" data-original-width="1920" height="580" src="https://blogger.googleusercontent.com/img/a/AVvXsEhvQ_PfPe_1ajXv5QIgqOUCS0h2nshQ-bwhqsu6DSQgLqcZHMnc005i6JzJy7oelIMaZ5URc69DShy19gB5pWdHLLjUaqIfV3s12NmxM77oCsma6oPuvLHSTBfpCUF2nIx-SBHzxt059epLfisgEDmRpBahHSWQPZn7PYEMSlYAVzSMYH6z57wk=w1029-h580" width="1029" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-family: Arial Narrow;"> </span></td></tr></tbody></table><span style="font-family: Arial Narrow;"><br /><br />(...)<br /><br /><b><u>DOMINIQUE VILLAIN</u></b>: On <i>Corneille-Brecht </i>(2009), for example, how did this work with these texts come about?</span></span><div><span style="font-family: Arial Narrow; font-size: large;"><br /><b><u>JEAN-MARIE STRAUB</u></b>: It was an actress — Cornelia Geiser — who had seen <i>Sicilia!.</i> I think it was the first film of ours she'd seen. She knew that we work on texts before making a film, and she wanted to do this work, independently of the cinema or a film. She had no idea for a text. I ended up accepting when she insisted. One fine day, after five or six years, I said to her "Here you go".<br /><br />And then suddenly, I found myself in the hospital, because I was run over by a Vespa while crossing the Caulaincourt bridge at half past midnight. The result was four small pieces. In the hospital I didn't know how to occupy myself. She sometimes came to see me, I said to her: “Sit down, we will finally do the work together”. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">I offered her two little monologues by Corneille, and after we worked on them a bit, after a few weeks, I liked her because her mother tongue is German. She's from the Munich region. I thought it would be nice to give her a text in German as well. I remembered a sentence that was going around in my head, which I had, moreover, changed around. It was the sentence: "Rom, Rom, Rom, Was ist das Rom?" I knew it was by Brecht and that I'd heard it at the Berliner Ensemble in the fifties. I didn't even know which Brecht play it came from. I wracked my brain, and I found where it appeared: in what's called in French “Le Procès de Lucullus” ("The Trial of Lucullus"). Which is both a Dessau opera, a radio text and a play.* I found my sentence, but it wasn't my sentence, it was "Rom, Rom, was ist Rom?" </span><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">The first two texts in French that we had worked on were about Rome, I wanted to settle accounts with the city of Rome, which I hate, although I had a certain love for it at the start. I learned to hate it. The first text ended with: "Voir Rome <i>etcetera</i>... moi seul en être témoin et mourir de plaisir" ("Take Rome <i>etcetera...</i> I alone will be the cause of it and die of pleasure"). It was <i>Horace</i>, which I barely knew, I'd read it fifty years before, in high school. The second text is a little monologue that I took from a play that dates from 1667 (<i>Othon</i>), by the same Corneille, written more than thirty years later. So, we saw different layers. We had the work of a relatively young man, and the work of the same man thirty years later. And who, in the meantime, had translated thousands of verses from Latin and <i>The Imitation of Jesus Christ</i>. It was important, there were two stages, two strata by the same author. And it was about the horrors of the Roman Empire. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">While working on these texts, I thought of Brecht's phrase, the origin of which I'd forgotten. I found it, and I told this actress that we could work on that too. It got a lot longer, even though it's not a very long movie. The two texts in French caused a third. We worked on this text by Brecht. But I was far from the cinema. I was interested in this young lady, who wanted to work. I was interested in seeing what she was capable of, and what she would be capable of if pushed or held back. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">She was seated in front of a white wall. I was lying on my hospital bed sitting next to her. We talked a bit. And after two months, I said to myself that what she was doing, after all, it would be interesting to film it. It would be a film that wouldn't be a film, but what we would film would be interesting, and ninety percent different from other films. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">At that moment, I was kicked out of the hospital. Social Security stopped paying. I ended up at my house, rue Cavallotti near Place Clichy, and instead of having a white wall, I had strange things. I filmed where I've lived in Paris since 1954. The Corneille passages, in front of an open window. She turns her back to the street. For the other text, she's seated in a crumbling armchair with a red throw cover. Between the blocks of Brecht, we introduced punctuation. Each time there's a break, and between each shot, she changed her costume. With Danièle, we always made fun of contemporary French films made by Fémis students or by more famous people. Real fashion shows, where the main actress changes her costume with each shot. We said to ourselves: “Another fashion show, dull as dishwater." Here, I wanted to do that squarely. She changed her blouse and skirt with each shot. With violently different colors. As it's in semi-darkness and the colors are violent since everything isn't illuminated, this creates violent shocks. But anyway it's a beautiful fashion show. (<i>To Dominique Villain</i>) Is that what you wanted to know?</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgGMEgxGAnBElgLQTeI6PLyCuiQHamTqelCGp0OY3qyE-s7kKzqxusKkEbfDFcRc8U7dqjlAKCbrbBuW8B4fF2m6iMCSfL4kI_LLcwbkHSC57HjUBHk98BMad5GcksbDTXWA4RjVyF7aclI1tlP-onX3ElSqNZP2B3LGDIt29rMU4hXgE5j-xgo" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1920" height="566" src="https://blogger.googleusercontent.com/img/a/AVvXsEgGMEgxGAnBElgLQTeI6PLyCuiQHamTqelCGp0OY3qyE-s7kKzqxusKkEbfDFcRc8U7dqjlAKCbrbBuW8B4fF2m6iMCSfL4kI_LLcwbkHSC57HjUBHk98BMad5GcksbDTXWA4RjVyF7aclI1tlP-onX3ElSqNZP2B3LGDIt29rMU4hXgE5j-xgo=w1006-h566" width="1006" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgjF6XyOE_AT97S8PNHtgiwKccKWTMdXJlEeP7eRBMkOHkNc8qz1yd73lRF6Sb_HT5l3fC06nUfScwnhTEoe_oUlA_z-QjXgQ4kyd-sDKSPNtlv3scjy80Ds9FfHeJyAvBwsXrt0CjRH7M1bIPfQzesAIQelDzNldsEwJh0vTTIOI4mokOlxS8v" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1920" height="566" src="https://blogger.googleusercontent.com/img/a/AVvXsEgjF6XyOE_AT97S8PNHtgiwKccKWTMdXJlEeP7eRBMkOHkNc8qz1yd73lRF6Sb_HT5l3fC06nUfScwnhTEoe_oUlA_z-QjXgQ4kyd-sDKSPNtlv3scjy80Ds9FfHeJyAvBwsXrt0CjRH7M1bIPfQzesAIQelDzNldsEwJh0vTTIOI4mokOlxS8v=w1005-h566" width="1005" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj7N4NSPvAWZJrgExbrw-nvqN9dhViGEIMHFZxGkR2TTvRqTfnGb4D0uQeCuNuh_rkX4EqLeMbiiB66CRlWOv2hsrv5pyiUabkhAOSLLvJqgT-XhzMzbQPgHR0VtSxFu71-gpetOMEM_xBVjwfdVOXnVazGcLCyAvFDc_jZY2WyIA8q7m3cv6_n" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1920" height="565" src="https://blogger.googleusercontent.com/img/a/AVvXsEj7N4NSPvAWZJrgExbrw-nvqN9dhViGEIMHFZxGkR2TTvRqTfnGb4D0uQeCuNuh_rkX4EqLeMbiiB66CRlWOv2hsrv5pyiUabkhAOSLLvJqgT-XhzMzbQPgHR0VtSxFu71-gpetOMEM_xBVjwfdVOXnVazGcLCyAvFDc_jZY2WyIA8q7m3cv6_n=w1004-h565" width="1004" /></a></div><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><span style="font-family: Arial Narrow; font-size: large;"><b><u>DOMINIQUE VILLAIN</u></b>: Yes, can you talk more specifically about working with the actress?</span><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b><u>STRAUB</u></b>: It's the work anyone should do with any text. Whether their name is Straub or Tartampion. We read a text, we see that some people have introduced punctuation that didn't exist, or have falsified it. We try to dynamite the punctuation by returning to a form of oral culture. You have to know where you breathe. After dynamiting a comma, a period, we continue, and we go to the next line only later, after such and such a speech, a word, a verb, a complement. To give the text a dynamic which corresponds to the individual who says it, to their personal breath.</span></div><span style="font-family: Arial Narrow; font-size: large;"><br />In general, professional actors do not know how to breathe. Even those from the famous Schaubühne in Berlin. We worked with them for three months. After three months, I said to them: “But nobody taught you how to breathe?" They said no. They have piano lessons every day, but they didn't understand when we told them to make an arc until there, to stop only after such and such a word, to start again at the next line, to breathe three, four, or five times... We make bars. A bar at the end of a line, or two bars, or five bars. This means: 1, 2, 3, 4, at 5 we go to the next line. Once it's decided, depending on the logic of the text, the syntax, and the dynamic that we're trying to capture or produce, it becomes a kind of score that each actor is obliged to exercise, instead of improvising. It involves preventing them from emptying their heart and soul and trampling on the text, from using the text as a springboard to express their personal petty bourgeois sentiments.<br /><br />I should have brought you the text of the latest film, which is not this film, but a little after, in Italian. You would have seen that the text is retyped horizontally. Already, it's an attack on Mr. Gutenberg, because the book, obviously, must be vertical. Even among Arabs or Hebrews who read the other way. We make the page horizontal. To have room for longer lines. A line consists of several small sentences or a very large sentence that makes up several lines in the book. You need something visual, for the actor. At the end of the line we put bars, as I said. Then we put signs. The actor discovers the text, there's a key word in the middle of the text. He says this key word as if it didn't exist. So, we ask him shyly: “Do you know what this word means, do you know the weight of this word?” He replies: “Ah! I didn't think about it!" or he says nothing. We then say to them: “Without any intention, or without emphasizing, think of the weight of this word, and re-read the text to me." And there the word exists. Without vocal effect, the word has passed through the brain, through the heart, and through the nerves, and, by the grace of God — <i>donnée par surcroît </i>— it gains weight, it has its weight. That's the work. So, we mark a red line or a green line, gradually there are layers. There are blue, brown, black, purple marks. It becomes a score that needs to be exercised, exercised. Like a musician practices a score.</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_cGcjUmma3d_4XWPPddgcDVJvmF-cXO92sd0KMKQiiQH2Brl2kOV7NCJZO87Q-kOhjOQKmkcyTcfUlEOtzaxyFXf4qk31wiBQ__piis6TgP1melGaM9ofvrBIti-k2wXde1jFd20ml1KoQwj4li-rMRHvLjaaASjl7I6qwQxvRtQwznhKPA/s604/1923670_10624550819_8024_n.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="452" data-original-width="604" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_cGcjUmma3d_4XWPPddgcDVJvmF-cXO92sd0KMKQiiQH2Brl2kOV7NCJZO87Q-kOhjOQKmkcyTcfUlEOtzaxyFXf4qk31wiBQ__piis6TgP1melGaM9ofvrBIti-k2wXde1jFd20ml1KoQwj4li-rMRHvLjaaASjl7I6qwQxvRtQwznhKPA/w701-h524/1923670_10624550819_8024_n.jpeg" width="701" /></span></a><div><div><span style="font-family: Arial Narrow; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhH_6qFLGOtJzCJ-GrBzOw7go5Jd_NxtNe3VGXeiG6qUWOf9L3kSI3-L5v0tb6l5ep7z5EAW9ywPTxqjfwgdsnqwm-nSPSH9CYy6AqZXZIotBgIu5AyMNaguMVgYFpcUNO4e1gNaKafATZ57Fbp88d1nA2NgekT361oPu3RytDYY6G0cSnXBA" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2040" data-original-width="3690" height="479" src="https://blogger.googleusercontent.com/img/a/AVvXsEhH_6qFLGOtJzCJ-GrBzOw7go5Jd_NxtNe3VGXeiG6qUWOf9L3kSI3-L5v0tb6l5ep7z5EAW9ywPTxqjfwgdsnqwm-nSPSH9CYy6AqZXZIotBgIu5AyMNaguMVgYFpcUNO4e1gNaKafATZ57Fbp88d1nA2NgekT361oPu3RytDYY6G0cSnXBA=w866-h479" width="866" /></a></div></span></div><span style="font-family: Arial Narrow; font-size: large;"><div style="text-align: right;"><div><span><span><i><br /></i></span></span></div><div><div><div><span><span><i>Horizontal pages from </i></span></span></div><div><span><span><i>IL GINOCCHIO DI AREMIDE (2008)</i></span></span></div><div><span><span><i>and UN HÉRITIER (2011)</i></span></span></div></div></div><div><br /></div></div></span></div><div><span style="font-size: large;"><span style="font-family: Arial Narrow; font-weight: bold;"><div style="text-align: right;"><div><br /></div><div><br /></div></div></span></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><u style="font-weight: bold;">A STUDENT</u>: For the texts by Corneille and Brecht, did you give the actress any indications as you worked on the rhythm, the intonations, the musical punctuation, the breathing? Do you also happen to say the text aloud yourself?</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b><u><br /></u></b></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b><u>STRAUB</u></b>: No no. I am careful not to tell them: “Listen to me, you are going to imitate what I am going to do.” It comes slowly, unconsciously. For example, when she begins to sing a small block three times in a somewhat bizarre way for an actress, it was found slowly. Neither she nor I had the idea of saying, "Here, we're going to start singing."</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><span><br />Everything is born </span><i>par surcroît</i><span>. Or by chance... Great art comes from chance, it does not come from intentions.</span><span><br /><br />But there is a construction, when you make a film. The minimum work that one must demand of oneself as the so-called author of the film, even before working on the text, before filming, before discovering places and taming them, is to discover a construction. Without construction, nothing exists, in art even less than elsewhere. No more than there is a soul apart from a body.</span></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b><u>A STUDENT</u></b>: Do you sometimes remove certain sentences or certain passages?</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /><b><u>STRAUB</u></b>: No no. When I censor in the middle of a text, it's very rare, it's to prevent the author from putting on a bad face. In a letter from Schoenberg to Kandinsky, I took the liberty of removing the sentence: "There will always be wars, we can't do anything about it, we just have to let it happen." I said to myself that it was a cliché unworthy of Schoenberg, so I cut it. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">I hate theater directors who put on a play by a famous author, and who remove all sorts of little phrases here and there that they don't like. The work on a text must precisely consist of understanding it slowly, and in discovering, even after having understood or while understanding it, things that at the starting point shocked you, provoked you, and which did not please you. Which were not pleasant or which were even unpleasant. Above all, there should be no censorship. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">The only censorship permitted is Stalinist censorship.</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b><u>DOMINIQUE VILLAIN</u></b>: Based on this film, I would like to come back to the idea of construction. Is it the montage of the two texts that you call the construction? Could you have built a film from a single element, for example, Brecht's text? Or must there always be two or more elements...</span></div><span style="font-family: Arial Narrow; font-size: large;"><br /><b><u>STRAUB</u></b>: In this case, I can't answer this question, because it was not a film at the start. So, I didn't do my job beforehand. I only did it at the last minute. I did it before filming, but I didn't do it three months, ten years, or three years before, since I had no intention of making a film. It happened like that. She was happy to have worked on these two little blocks by Corneille, and when I found the Brecht text, which had been like a ghost in my head for twenty years, there were three blocks which, without yet being a construction, formed a subject for a possible film, which may not be a film. It's different from our other films.</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: large;"><div class="separator" style="clear: both; text-align: right;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj68xSlKBBKjYD20bXZVaov-vqR5CC4iMvtPzmL4BNINL2TqIJu-URRyJzzVHw6PiNG54Z6IzMYFWRH0XAuiAOAWq9Klf83TIfhi56owvTT7HMpWXpYQ1aUwAiBk_-XsYFQwbrVfnE68IY-_kBH7NV1wJLD5I2rslEwqjJOwVMSgj6CFWVJeQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="3884" data-original-width="2580" height="432" src="https://blogger.googleusercontent.com/img/a/AVvXsEj68xSlKBBKjYD20bXZVaov-vqR5CC4iMvtPzmL4BNINL2TqIJu-URRyJzzVHw6PiNG54Z6IzMYFWRH0XAuiAOAWq9Klf83TIfhi56owvTT7HMpWXpYQ1aUwAiBk_-XsYFQwbrVfnE68IY-_kBH7NV1wJLD5I2rslEwqjJOwVMSgj6CFWVJeQ=w286-h432" width="286" /></a></div><div style="text-align: right;"><span><div class="separator" style="clear: both; font-family: Times; text-align: center;"><span style="font-family: Arial Narrow;"><div style="text-align: left;"><br /></div><div style="text-align: right;">Excerpts from an interview </div><div style="text-align: right;">with Jean-Marie Straub, </div><div style="text-align: right;"><i>Le Travaille du cinéma I </i></div></span></div><div class="separator" style="clear: both; font-family: Times; text-align: right;"><span style="font-family: Arial Narrow;">by Dominique Villian</span></div><div class="separator" style="clear: both; font-family: Times; text-align: right;"><span style="font-family: Arial Narrow;">PU Vincennes, 2012.</span></div><div class="separator" style="clear: both; font-family: Times; text-align: right;"><span style="font-family: Arial Narrow;">Translated by Andy Rector.</span></div></span></div><div style="text-align: right;"><span><br /></span></div><div style="text-align: right;"><span><br /></span></div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjMdDifbA1yugrwTHiJVsXNs4JmwdJ2QtzPxzAQikpJ1hFGnoN1Bpb85iAIpS-XsE04zHyCZn7Aw3rzefbmL0XOGEW1HMB_a0bC6CJ8ufqqcwXxUARwOwOa4JJwA0dq46p1MumhFmi0R6wN-rU6UnEzJdlEMd346yoaoamqo7ZdHIqflEBuyg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="3735" data-original-width="2987" height="875" src="https://blogger.googleusercontent.com/img/a/AVvXsEjMdDifbA1yugrwTHiJVsXNs4JmwdJ2QtzPxzAQikpJ1hFGnoN1Bpb85iAIpS-XsE04zHyCZn7Aw3rzefbmL0XOGEW1HMB_a0bC6CJ8ufqqcwXxUARwOwOa4JJwA0dq46p1MumhFmi0R6wN-rU6UnEzJdlEMd346yoaoamqo7ZdHIqflEBuyg=w700-h875" width="700" /></a><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">*<span style="background-color: black; color: #999999;">Brecht wrote </span><i style="background-color: black; color: #999999;">The Trial of Lucullus</i><span style="background-color: black; color: #999999;"> quickly, in two weeks while in exile in Sweden in 1939, as if out of historical necessity. Later, in 1951, when he and Paul Dessau were working on the opera version of the play in East Germany, </span><span style="background-color: black; color: #999999;">they ran into production delays when the GDR Ministry for Popular Education accused their libretto of formalism and pressed for revisions to counter its perceived elements of pacifism. Brecht wrote: "</span><i style="background-color: black; color: #999999;">i'm against this (delay). the subject is important just at this moment, when the americans are issuing such hysterical threats</i><span style="background-color: black; color: #999999;">," referring to Truman's order of American troops into Korea in '50-51 under cover of the U.N., after North Korea's invasion of the South, while General Douglas MacArthur was advocating for the use of atom bombs against Korea. The opera was retitled </span><i style="background-color: black; color: #999999;">The Condemnation of Lucullus. ––</i><span style="background-color: black; color: #999999;">A.R. </span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="background-color: black; color: #999999;">Barbara Brecht-Schall quoting Brecht on the GDR: </span></div><div style="text-align: left;"><span style="background-color: black; color: #999999;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjxQNa4F-2a1-xCnzF3clhFv5sLMPe_S3kcdLuzIp8m50cFTXuvqvCBZDSBEZMCUVUMeTQgZUqAM86_d2vD76tr7Rpze8xLsYir7AbnMy2o3sVOrCfLl60I4-nZxfhyLGdK2sWVa9VlLZsdGLeBhScIRDGT0IJNpOpAk47RLTcKo7n6ARhgH8LZ" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="384" data-original-width="688" height="271" src="https://blogger.googleusercontent.com/img/a/AVvXsEjxQNa4F-2a1-xCnzF3clhFv5sLMPe_S3kcdLuzIp8m50cFTXuvqvCBZDSBEZMCUVUMeTQgZUqAM86_d2vD76tr7Rpze8xLsYir7AbnMy2o3sVOrCfLl60I4-nZxfhyLGdK2sWVa9VlLZsdGLeBhScIRDGT0IJNpOpAk47RLTcKo7n6ARhgH8LZ=w485-h271" width="485" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: left;"><span style="background-color: black; color: #999999;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEidMjP7KJ9osIWG1usZNL54F6VGgGYfbMWF7b23kq1DuoNNtKM6KtgFkklqJ-6-5JqhUcrs75o9ptQDZorhAov3z9bkyNc9nmRx7FYPmGMlZMDDJYVIpoGtM9ctezF_XPGyta4kIR_CweE8V4TfoCVKMF1TxhVYgT9zO8PbVrwC1m4CO5A1tKeC" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="384" data-original-width="688" height="272" src="https://blogger.googleusercontent.com/img/a/AVvXsEidMjP7KJ9osIWG1usZNL54F6VGgGYfbMWF7b23kq1DuoNNtKM6KtgFkklqJ-6-5JqhUcrs75o9ptQDZorhAov3z9bkyNc9nmRx7FYPmGMlZMDDJYVIpoGtM9ctezF_XPGyta4kIR_CweE8V4TfoCVKMF1TxhVYgT9zO8PbVrwC1m4CO5A1tKeC=w486-h272" width="486" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEho97ZRtQhl5jNryLFkmqJxZxS-M7ad-X94XA3ZDFJilk54-25ztgsx4lIT0_-N3Ps_GMvEjAjVcB7sfZ8o9WcpLIA3p8Eg3ui2ePjowKoRbsJzHIuOFaN18V1HStDfcfa2KRa-DidTG2CxPyiVIb8zZ-oRMTvX30eSewRs9DwFcWvJsbPGZ5S7" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="384" data-original-width="688" height="277" src="https://blogger.googleusercontent.com/img/a/AVvXsEho97ZRtQhl5jNryLFkmqJxZxS-M7ad-X94XA3ZDFJilk54-25ztgsx4lIT0_-N3Ps_GMvEjAjVcB7sfZ8o9WcpLIA3p8Eg3ui2ePjowKoRbsJzHIuOFaN18V1HStDfcfa2KRa-DidTG2CxPyiVIb8zZ-oRMTvX30eSewRs9DwFcWvJsbPGZ5S7=w495-h277" width="495" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></span></div><div style="text-align: left;"><span style="background-color: black; color: #999999;"><br /></span></div><div style="text-align: left;"><span style="background-color: black; color: #999999;">"I have my opinions not because I am here; </span></div><div style="text-align: left;"><span style="background-color: black; color: #999999;">rather I am here because I have my opinions." –b.b.</span></div></span></div><div><span style="font-size: large;"><br /></span></div></div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-7812370581236470622023-10-11T14:32:00.018-07:002023-10-20T05:05:13.623-07:00<p style="text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDRv9kiujQUnj6rLn4l-kF7_B0U0a7rM0Fi-HNxFPbP-euw0_d_7DSRw3LMe_K7wUlqvLPrOMg3f7VveWIT_0MwD9Gr2gIl_dozNU2p4Mbc5cvOgLnmc6vjkCb9Wyd0obAHG9-k3wzR4YUCfiZB_JFizi47mf1dmmUt6JJdxyl4Tg7ji5uNf0f/s6000/onde-vamos-morar.final_123.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6000" data-original-width="4239" height="994" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDRv9kiujQUnj6rLn4l-kF7_B0U0a7rM0Fi-HNxFPbP-euw0_d_7DSRw3LMe_K7wUlqvLPrOMg3f7VveWIT_0MwD9Gr2gIl_dozNU2p4Mbc5cvOgLnmc6vjkCb9Wyd0obAHG9-k3wzR4YUCfiZB_JFizi47mf1dmmUt6JJdxyl4Tg7ji5uNf0f/w702-h994/onde-vamos-morar.final_123.jpg" width="702" /></a></span></div><span style="font-family: "Arial Narrow";"><br /></span><p></p><p style="text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></p><p style="text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;">*</span></span></p><p style="text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-family: Arial Narrow;"><span style="font-size: xx-large;">WHERE ARE WE </span><span style="font-size: xx-large;">GOING TO LIVE?</span></span></p><p><span style="font-family: Arial Narrow;"><span style="font-size: large;"><br /></span></span></p><p><span style="font-family: Arial Narrow; font-size: large;">A Film Series </span></p><p><span style="font-family: Arial Narrow; font-size: large;">on Housing Problems</span></p><p><span style="font-family: Arial Narrow; font-size: large;">programmed by Andy Rector</span></p><p><span style="font-family: Arial Narrow; font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: large;"></span></span></p><p style="text-align: right;"><span style="text-align: left;"><span style="font-family: Arial Narrow; font-size: large;">dedicated</span></span><span style="font-family: Arial Narrow; font-size: large;"> to Beatriz Duarte</span></p><p style="text-align: center;"><br /></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">OCTOBER 12 - 18</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><a href="https://www.cinemaidealemcasa.pt/noticias/" target="_blank">CINEMA IDEAL</a> - LISBOA</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">One week, 17 films</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">All programs begin at 9pm </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">5 € admission</span></p><p><span style="font-size: large;"><span style="font-family: "Arial Narrow";"><br class="Apple-interchange-newline" /><br /></span></span></p><p><span style="font-family: "Arial Narrow"; font-size: large;"></span></p><p style="text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: large;">*</span></span></p><div><br /></div><p style="text-align: left;"><span style="font-family: "Arial Narrow";"><span style="font-size: large;">Series will travel to Porto, <a href="https://casadasartes.gov.pt/" target="_blank">Casa das Artes</a>, November 4 - 12. </span></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow";"><span style="font-size: large;">Supported by <a href="https://www.optecfilmes.com/saal" target="_blank">OPTEC FILMES</a> upon their upcoming dvd/streaming release of the film <a href="https://www.optecfilmes.com/saal" target="_blank">AS OPERAÇOES SAAL</a> (OPERATION SAAL, 2007, João Dias). </span></span></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: "Arial Narrow";">Introduction and small summaries of each program are below (</span><span style="font-family: "Arial Narrow";">em português, </span><span style="font-family: Arial Narrow;">ligeiramente truncado, <a href="https://www.optecfilmes.com/" target="_blank">aqui</a>)</span><span style="font-family: "Arial Narrow";">. </span></span><span style="font-family: "Arial Narrow";"><span style="font-size: large;">More material (articles, notes, news of guests) will follow as the series develops. </span></span></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: "Arial Narrow";"><br /></span></span></p><p style="text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: large;">*</span></span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><span style="font-family: Arial Narrow; font-size: large;">Introduction<br /><br />A series of films about the betrayal of the right to housing, a right unborn. Not meant to be a sociological event, but simply a selection of films––seven nights at the movies––on the housing problem, the eviction problem, the exploitation problem, pulled from the history of cinema, internationally.</span><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span><div><span style="font-family: Arial Narrow; font-size: large;">Films made on the side of oppressed people, the cheated, the evicted, the harassed, the repressed: elderly pensioners, unemployed youth, strikers, house builders, miners, bricklayers, piece-workers, alcoholics, post-war villagers trying to rebuild, cafeteria cooks, security guards, immigrants, mothers, sisters, hobos, temporary workers, people without homes.</span></div><div><span style="font-size: large;"><span style="font-family: Arial Narrow;"><br />Films showing the economic continuity and human toll of the housing problem over decades––the absolute lock on property relations, the dictatorship of the market over people, then and now.<br /><br />Here we see legal intrigues, corruption, speculation, theft, eviction, police––the basics of an unchanging capitalism. Invader, redeveloper, kidnapper, exiler, swindler. Orphan-maker, widow-maker. "Che farsa!" an Italian villager yells when being newly told of market realities. “A lot of departed spirits walk with me…” says Cape Verdean Ventura, standing in the aftermath, in Amadora, eating the one small soup his friend Pango can spare.<br /><br />A group of films that hold, like a silo, historical and human detail on the monstrous inequities. The life and death involved, the solidarity needed. As José Sinho Baessa de Pina (<a href="https://www.facebook.com/cavaleirossaobras" target="_blank">community representative</a> in Casal da Boba and organizer with the agit-group <a href="https://vidajusta.org/manifestacao-vida-justa-21out23/">VIDA JUSTA</a>) says: "The spirit of unity and solidarity is a process," one torn apart precisely when “everyone is worried about their home”. Many souls in these films survive through some kind of solidarity: fellow workers prevent an eviction; a snitch threatening a Hooverville shantytown is thwarted; a mother's memory of "back home" is shared for strength; a warning is passed on before it's too late; the simple twist of a screwdriver of a telephone company worker restores the unpaid line of a desperate man…<br /><br />Classical film, B-film, epic, questing documentary, horror film, propaganda, melodrama, music film, student film, silent film, militant film, plus the unclassifiable. Many of these films are of the popular cinema, if not “becoming-popular” (as <a href="https://kinoslang.blogspot.com/2016/10/who-does-world-belong-to-place-of-film.html" target="_blank">Bernard Eisenschitz wrote</a> of Dudow/Brecht, Straub/Huillet).<br /><br />In the love and hate, dream and nightmare, hope and despair that cinema projects, one finds it has always been concerned with housing, seen from the bottom (and sometimes the top––rarely the middle). </span><span style="font-family: Arial Narrow;">Chaplin’s Tramp was a so-called “homeless”. </span><span style="font-family: "Arial Narrow";">Pedro Costa: "Cinema was always here to serve the defenseless. We risk forgetting that. (...) Perhaps these scenes in which respect is shown towards them can make us see the injustice."</span></span></div><div><span style="font-size: large;"><span style="font-family: "Arial Narrow";"><br /></span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: large;"><br /></span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: large;"><br /></span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: large;"><br /></span></span></div><div style="text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: large;">*</span></span></div><div style="text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: large;"><br /></span></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br />A small contribution to the fight against the grotesque rent and food prices impoverishing and displacing the majority of us now. </span><span style="font-size: large;"><span style="font-family: "Arial Narrow";">In solidarity with the upcoming </span><a href="https://expresso.pt/opiniao/2023-03-07-Quando-os-bairros-tomam-a-palavra-8c416f79" style="font-family: "Arial Narrow";" target="_blank">VIDA JUSTA</a><span style="font-family: "Arial Narrow";">-organized protest in Lisbon (Rossio), </span><a href="https://vidajusta.org/manifestacao-vida-justa-21out23/" style="font-family: "Arial Narrow";" target="_blank">October 21</a><span style="font-family: "Arial Narrow";">, demanding: </span><span style="font-family: "Arial Narrow";">"<i>End the rising costs, we want houses to live in, transport for all, wage increases, no police repression in our neighborhoods.</i>"</span></span></div></div><div><span style="font-size: large;"><span style="font-family: Arial Narrow;"><br /><br /><br /></span></span><p style="text-align: center;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-family: "Arial Narrow"; font-size: large;">*</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><u>OCTOBER 12, Thursday</u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><u><br /></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>AS OPERAÇÕES SAAL </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><i>Operation SAAL </i></span></p><p style="text-align: left;"><span style="font-family: Arial Narrow; font-size: large;"><span> 2007, </span>João Dias. 127 min. Portugal </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">*Director João Dias in attendance* </span></p><p style="text-align: left;"><br /></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow"; font-size: large;"><span style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgUZ61fndYVfciip7HqygU50cXFJQElE2CtSJ6cX3LnFDfKxS0nRQCeYpekMG1j1IO9--RenZVleuKdn3fqBVCqsweEngyd0l--zyACjb0UP7_Cl57lfiixWNsCIhZwfVCwrRr62rfYa2fP3Qrd6OLjloFDUR_nRvy9a0_OXTwlvAuqfebuTJuN" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="800" data-original-width="1280" height="273" src="https://blogger.googleusercontent.com/img/a/AVvXsEgUZ61fndYVfciip7HqygU50cXFJQElE2CtSJ6cX3LnFDfKxS0nRQCeYpekMG1j1IO9--RenZVleuKdn3fqBVCqsweEngyd0l--zyACjb0UP7_Cl57lfiixWNsCIhZwfVCwrRr62rfYa2fP3Qrd6OLjloFDUR_nRvy9a0_OXTwlvAuqfebuTJuN=w437-h273" width="437" /></a></span></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow"; font-size: large;"><span style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiA0bA6JkXyfIF1nXGoa9zHO3j6W5m77-tA1XQxmK0hoRfHF6yfVICthka5CCFF9X7HsB2Ukas6CfVXonr2JxTioFumKx_jZaKEUkwRgmoPAuDlqk_uYS6j3jB_zBd2_pJakAyeDqf_4Niqjt3RmeQBxdr27-uACP-vi6M8gyRRH8q7R7R8XzhI" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="539" data-original-width="962" height="243" src="https://blogger.googleusercontent.com/img/a/AVvXsEiA0bA6JkXyfIF1nXGoa9zHO3j6W5m77-tA1XQxmK0hoRfHF6yfVICthka5CCFF9X7HsB2Ukas6CfVXonr2JxTioFumKx_jZaKEUkwRgmoPAuDlqk_uYS6j3jB_zBd2_pJakAyeDqf_4Niqjt3RmeQBxdr27-uACP-vi6M8gyRRH8q7R7R8XzhI=w435-h243" width="435" /></a></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow"; font-size: large;"><span style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjD2Hf21ZaBL0GceAQe47u4RRa9aNcRWWfT7A6dwdSVuv3uaUkAdXKomaTp4-qe7fotK5wf5zA5Xjk2oI2YKks_yf9Xhe7IwzX4p8OXVK_oN_vpU7AIE4yyC1u60riMNWgqq2gf7cdnoWdL0Zkgvw-TfFQKgRjuvF4F2TTY44556abFiDPa8j6_" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="717" data-original-width="1275" height="245" src="https://blogger.googleusercontent.com/img/a/AVvXsEjD2Hf21ZaBL0GceAQe47u4RRa9aNcRWWfT7A6dwdSVuv3uaUkAdXKomaTp4-qe7fotK5wf5zA5Xjk2oI2YKks_yf9Xhe7IwzX4p8OXVK_oN_vpU7AIE4yyC1u60riMNWgqq2gf7cdnoWdL0Zkgvw-TfFQKgRjuvF4F2TTY44556abFiDPa8j6_=w436-h245" width="436" /></a></span></span></div><span style="font-family: "Arial Narrow";"><span style="font-size: large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjVKHgXMDtGDAHoqQPqM3RxRWjFPghBtfyNFskYO2fSikBx0GKrN_x8_uZLgVFqbbCYo8JeDq2BZ0FacT3HiCq_SItAcLMBktLdoOjWA-y3KqLStHlctlPh2w2BkvTTzapBllnJgou9sIlDNBRYmz76oa4gu1jHn8ipV7n8DZPVv6hvY6-lY8zO" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="800" data-original-width="1280" height="271" src="https://blogger.googleusercontent.com/img/a/AVvXsEjVKHgXMDtGDAHoqQPqM3RxRWjFPghBtfyNFskYO2fSikBx0GKrN_x8_uZLgVFqbbCYo8JeDq2BZ0FacT3HiCq_SItAcLMBktLdoOjWA-y3KqLStHlctlPh2w2BkvTTzapBllnJgou9sIlDNBRYmz76oa4gu1jHn8ipV7n8DZPVv6hvY6-lY8zO=w433-h271" width="433" /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjVKHgXMDtGDAHoqQPqM3RxRWjFPghBtfyNFskYO2fSikBx0GKrN_x8_uZLgVFqbbCYo8JeDq2BZ0FacT3HiCq_SItAcLMBktLdoOjWA-y3KqLStHlctlPh2w2BkvTTzapBllnJgou9sIlDNBRYmz76oa4gu1jHn8ipV7n8DZPVv6hvY6-lY8zO" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi0T_6Y5-RkUL1HyiAFso0kfnU6nnBpTcjkfBpgAn-zk9WYe39HYSQc2xsYCtM-XKPGF4oHTpMNwaIMeJ1JT6qUyZIcndgJv_3gAhgAjhTxIHIUhat5fwWVkZeXuBgPLt_os9CqLTpfEsvivRSUkItGx0gH0wGpe1_p01YAusP4n_CzIfw0Ro3X" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="800" data-original-width="1280" height="276" src="https://blogger.googleusercontent.com/img/a/AVvXsEi0T_6Y5-RkUL1HyiAFso0kfnU6nnBpTcjkfBpgAn-zk9WYe39HYSQc2xsYCtM-XKPGF4oHTpMNwaIMeJ1JT6qUyZIcndgJv_3gAhgAjhTxIHIUhat5fwWVkZeXuBgPLt_os9CqLTpfEsvivRSUkItGx0gH0wGpe1_p01YAusP4n_CzIfw0Ro3X=w443-h276" width="443" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow";"><span style="text-align: center;"><br /></span></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;">A dream… Operation SAAL was the April 25th,1974 Carnation Revolution’s most important reply to the housing problem: the people would take into their own hands the building process of their own homes, working in close collaboration with architects. What happened? João Dias's documentary is a jocular, sometimes bitter, revisiting of the plan, the sites, and people involved, 30 years after the Coup, energetically told with a dialectic of past and present voices: tenants associations, workers and architects. <a href="https://www.optecfilmes.com/saal-eng" target="_blank">More information</a>.</div><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: large; text-align: center;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: large; text-align: center;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow";"><span style="font-size: large; text-align: center;"><br /></span></span></div><p></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><u><b>OCTOBER 13, Friday</b></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><u><br /></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>LES MAISONS DE LA MISÈRE </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><i>Houses of Poverty</i> </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1936, Henri Storck.
29 min. Belgium</span></p><p><span style="font-family: Arial Narrow; font-size: large;">Francês com legendas em inglês</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>MISÈRE AU BORINAGE </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><i>Misery in Borinage </i></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1934, Henri Storck, Joris Ivens.
34 min. Belgium</span></p><p><span style="font-size: large;"><span style="font-family: Arial Narrow;">Francês com legendas em inglês</span><span style="font-family: "Arial Narrow";"> </span></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>KUHLE WAMPE ODER: WEM GEHÖRT DIE WELT? </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><i>Kuhle Wampe or: To Whom Does the World Belong?</i></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1932, Slatan Dudow, Bertolt Brecht.
70 min. Germany </span></p><p><span style="font-size: large;"><span style="font-family: Arial Narrow;">Alemão com legendas em inglês<br /><br /></span><span style="font-family: "Arial Narrow";">*Portugal Premiere of 2020 Restoration* </span></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p><span style="font-family: "Arial Narrow"; font-size: large;">Sessão: 2 horas 15 min, mais intervalo </span></p><p><span style="font-family: "Arial Narrow"; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi35T0irFlbv5Yo5limTvw_CVJh8H3cBatCkQneawfXgSUQgYGZvWGeTcUx9yAQYtdzxHphXX6wfudY570E-B7FhKIDFyJn1e6uObhf6wkcH9LLuNb-MYmtg8IqT2hfpRpRz2cmWC2iwZwrtXQmHYUd8yM0n-ADSFay34bhzqO1tyTKhsHT_3sV" style="margin-left: 1em; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi-m6DkKVuUra8-OhLnDQWG0l4kf3i8_WwMU7kfBU07a-kudUCc73yHmIeA9Fl1NZCikwID1Odlm5O7UOcTolTyuFrVWKJSi-kPu7O3p9vuxncHnNK82fyekciFWKDfy0gbxIZN9U25DETke8WO4Xa6Vivau1BU_-bFlfwzzonFp-c4vvyjPUa7" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="1080" data-original-width="1286" height="318" src="https://blogger.googleusercontent.com/img/a/AVvXsEi-m6DkKVuUra8-OhLnDQWG0l4kf3i8_WwMU7kfBU07a-kudUCc73yHmIeA9Fl1NZCikwID1Odlm5O7UOcTolTyuFrVWKJSi-kPu7O3p9vuxncHnNK82fyekciFWKDfy0gbxIZN9U25DETke8WO4Xa6Vivau1BU_-bFlfwzzonFp-c4vvyjPUa7=w380-h318" width="380" /></span></a></div><span style="font-size: large;"><br /></span></div></div></div></div></div><p></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br />Three films in which dismal living and working conditions, eviction and dispossession do not come with the inevitability of an earthquake or flood, but are seen critically and agitated against, cause and effect relations unmasked. Films which intended to intervene on reality.</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow";"><u><span style="font-size: large;">OCTOBER 14, SATURDAY</span></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><u><br /></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>THE GOLDEN LOUIS </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1909, D.W. Griffith. 7 min. E.U.A. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Filme mudo, legendas em inglês
sem acompanhamento musical </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>THE USURER </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1910, D.W. Griffith. 17 min. E.U.A. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Filme mudo, legendas em inglês
sem acompanhamento musical </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>ONE IS BUSINESS, THE OTHER CRIME </b></span></p><p style="text-align: left;"><span style="font-family: Arial Narrow; font-size: large;">1912, D.W. Griffith. 15 min. E.U.A. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Filme mudo, legendas em inglês
sem acompanhamento musical </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: large;"><b><span><span style="font-family: "Arial Narrow";">IL RITORNO DEL FIGLIO PRODIGO –– </span><span style="font-family: "Arial Narrow";">UMILIATI: </span></span></b><b style="font-family: "Arial Narrow";">CHE NIENTE DI FATTO O TOCCATO DA LORO, DI USCITO DALLE MANI LORO, RISULTASSE ESENTE AL DIRITTO DI QUALCHE ESTRANEO (OPERAI, CONTADINI - SEGUITO E FINE) </b></span></p></div><span style="font-size: large;"><span style="font-family: Arial Narrow;"><i><div><span style="font-family: Arial Narrow;"><i>The Return of the Prodigal Son –– </i></span><i>Humiliated: <span style="font-family: "Arial Narrow";"><i>That Nothing Produced or Touched by Them, Coming From Their Hands, Proves Free from the Claim of Some Stranger (Workers, Peasants - Continuation and End)</i></span> </i></div></i></span><span style="font-family: "Arial Narrow";"><i><br /></i></span></span><div><span style="font-size: large;"><span style="font-family: "Arial Narrow";"><i>O Retorno do Filho Pródigo –– </i></span><i style="font-family: "Arial Narrow";">Humilhados: </i><i style="font-family: "Arial Narrow";">Que Nada Feito ou Tocado Por Eles, Nada Saído das Mãos Deles, Resultasse Livre do direito de Algum Estranho (Operários, Camponeses - Continuação e Final) </i><br /></span><div><div><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">2003, Jean-Marie Straub, Danièle Huillet. 64 min. Itália, França, Alemanha</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Italiano com legendas em português</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>O NOSSO HOMEM </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">2010, Pedro Costa. 26 min. Portugal </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Português e crioulo com legendas em português </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">sessão: 2 horas 3 min, sem intervalo </span></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj0S2YkjfbM2sffuRJLOB98oJaoSkRiefQfZbkLQrMrnGCw1TfygpMqNSqQSF-gVhi_XWnkY4uZAZd9IlomEPG76KAkWyK26gRGa3DzuObKx70K7nNa1OnULC5fszb1PiieJPugClggEiYqw95UHSiKMJR8XJetdr7-hTQBTvfYAyVHKa_g2PQw" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="532" data-original-width="639" height="312" src="https://blogger.googleusercontent.com/img/a/AVvXsEj0S2YkjfbM2sffuRJLOB98oJaoSkRiefQfZbkLQrMrnGCw1TfygpMqNSqQSF-gVhi_XWnkY4uZAZd9IlomEPG76KAkWyK26gRGa3DzuObKx70K7nNa1OnULC5fszb1PiieJPugClggEiYqw95UHSiKMJR8XJetdr7-hTQBTvfYAyVHKa_g2PQw=w375-h312" width="375" /></span></a></div><div class="separator" style="clear: both; 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margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1440" height="405" src="https://blogger.googleusercontent.com/img/a/AVvXsEibAP9_QsgMVPZxCvF7zG7P7Ge4EhmI8iBfMNqJwzwDNybWU4M2bsCv-KdEoYhJxIBBPZUSF-1NIYM7BnIeNxGjXJKoM6pWB1ECqeHLgai3O3vu7dDR7pWfZaSG1U4pTCkeJpFrJBHVfag4e-EAy09gE3wrYKUfih-mgkInbxpVPnrQnVtxK8XQ=w539-h405" width="539" /></a><br /><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><span style="font-size: large;"><br /><span style="font-family: "Arial Narrow";">Five fables. Three by D.W. Griffith on the evils of the economy, accumulation, corruption, the tenuousness of charity and class reconciliation; with forms of montage that seem to express outrage that rich and poor coexist at all. One by Straub/Huillet, HUMILIATED: No sooner does an impromptu commune in post-war Italy establish itself and begin to overcome its internal challenges, does a zombie of the cadastre, possessed by propriety, arrive and declare that everything they've cultivated is already owned: the land, the water, even their wills (to clear the forest of landmines, to produce wheat non-industrially...). And finally, Pedro Costa's O NOSSO HOMEM, about the struggle of a Portuguese-born child of Cape Verdean immigrants to gain an ounce of peace, under threat of expulsion, as if not a citizen, alongside the story of a bricklayer, possibly beaten to death by racists in Amadora.</span><br /></span><p></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><u style="font-family: "Arial Narrow";"><span style="font-size: large;"><br /></span></u></p><p style="text-align: left;"><u style="font-family: "Arial Narrow";"><span style="font-size: large;">OCTOBER 15, Sunday</span></u></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><u><br /></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>CHICAGO CALLING ! </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1951, John Reinhardt. 75 min. E.U.A. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Idioma inglês sem legendas </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>BUNKER HILL </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1956, Kent Mackenzie. 18 min. E.U.A. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Idioma inglês sem legendas </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>THE FINAL INSULT </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1997, Charles Burnett. 55 min. E.U.A. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Idioma inglês sem legendas</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"> </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">sessão: 2 horas 28 min. mais intervalo </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgiYQ_vhy8y-XHcnph1CZ47Nd6qE4eTsCj4xAnzEXlxbOWmKdPOSB_wAhUrNDmhvcQi-bLgnYw-JHNn8F9DULmf4qb3aS8dcEHcVtji_9W45UESPM1y60EyIBq7R-2U0fRC24EVX-02x1ptYLWRDgQEeSCwJmnNyrZrpTKqVUZBiug_DWXE92Nw" style="margin-left: 1em; 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text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiKeQRzZPLte73CWL8I4sNHsOeGN3NBSaLNP0IUhf5PaKW0OFDiU91dYlFKXPG0VQ2uPsjYsueZ8llYh6FrtrDMF2q4wkS32RERzeyyM5JG7aCDgN_aDsVuUb9Q5UCFmNqce765Q7Yd2uoD2s_yCpmOHJY2e_BUpYUVWM_cLDsVXY9VikopD0Df" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="961" data-original-width="1229" height="442" src="https://blogger.googleusercontent.com/img/a/AVvXsEiKeQRzZPLte73CWL8I4sNHsOeGN3NBSaLNP0IUhf5PaKW0OFDiU91dYlFKXPG0VQ2uPsjYsueZ8llYh6FrtrDMF2q4wkS32RERzeyyM5JG7aCDgN_aDsVuUb9Q5UCFmNqce765Q7Yd2uoD2s_yCpmOHJY2e_BUpYUVWM_cLDsVXY9VikopD0Df=w566-h442" width="566" /></span></a></div><span style="font-size: large;"><br /></span><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiPANlMID4qv9eh1Mz0RHlD5iwV3bQrGDe7sV2klTwXLqDizcP3pc4EEQYaQAEnFjplHZuk57IIJpociPvqLjnQ_vTFdjA5CZ_crJhjPk3B0vstsUBfUzkAN8MwMxTe8nj5565LQK7Iz-0yMatzAGwSltXSttLDxK4IUsyZR-4lxnqrq9m30fOA" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="480" data-original-width="640" height="357" src="https://blogger.googleusercontent.com/img/a/AVvXsEiPANlMID4qv9eh1Mz0RHlD5iwV3bQrGDe7sV2klTwXLqDizcP3pc4EEQYaQAEnFjplHZuk57IIJpociPvqLjnQ_vTFdjA5CZ_crJhjPk3B0vstsUBfUzkAN8MwMxTe8nj5565LQK7Iz-0yMatzAGwSltXSttLDxK4IUsyZR-4lxnqrq9m30fOA=w476-h357" width="476" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgdFTs8Ms06FXSz63YQgpcUVSkzcFATVncz8q6omPnGQEnXKodVGo0HZeiFmNuDjQXtLVKokX6p4SLNUa_8g4a-IIBd522mLExhykSZkiVcNUm4x4KeoP-KK4gLLSBhagfB2WkjySA8Ot5ahMEnQN_D-QIY2xBeZzv-_jEXtIJDV-CXmzOmB5EF" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="480" data-original-width="640" height="317" src="https://blogger.googleusercontent.com/img/a/AVvXsEgdFTs8Ms06FXSz63YQgpcUVSkzcFATVncz8q6omPnGQEnXKodVGo0HZeiFmNuDjQXtLVKokX6p4SLNUa_8g4a-IIBd522mLExhykSZkiVcNUm4x4KeoP-KK4gLLSBhagfB2WkjySA8Ot5ahMEnQN_D-QIY2xBeZzv-_jEXtIJDV-CXmzOmB5EF=w423-h317" width="423" /></a><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiCgZknrVSfqt-3v2JbIQkY0gxTilR6QZPRtG2Aw7MJrZlbz5vaj2d0VCJNYS_ZIfl2vpkjqxvRX1rZ3grRlPIMYAhad-PfcjVFWAbFymySjSyBDFuXHBoAHb3_9URWN282lMrH_f8igSBfugPQSi0WHcKi_eABHS8A9I2LRiE_R5vmIYVRX2BC" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="480" data-original-width="840" height="289" src="https://blogger.googleusercontent.com/img/a/AVvXsEiCgZknrVSfqt-3v2JbIQkY0gxTilR6QZPRtG2Aw7MJrZlbz5vaj2d0VCJNYS_ZIfl2vpkjqxvRX1rZ3grRlPIMYAhad-PfcjVFWAbFymySjSyBDFuXHBoAHb3_9URWN282lMrH_f8igSBfugPQSi0WHcKi_eABHS8A9I2LRiE_R5vmIYVRX2BC=w506-h289" width="506" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj4aKCUY5qg-8OphOT5cbcepXYJ4Z4wUH98vEjshLwCy7qiMW6wav6Mm0HeEksjDtJZXbDHQ1aCLlkiNWwDMoc06o3O01bo-o9sKTL40aofTiM7y1KkIqDnejb2_DzZgyRxi3-D_kXvPArxQ2fQgRmaHPX_1OLZ51oe_7ibkhsCKD2wnDMmYbm_" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="480" data-original-width="840" height="291" src="https://blogger.googleusercontent.com/img/a/AVvXsEj4aKCUY5qg-8OphOT5cbcepXYJ4Z4wUH98vEjshLwCy7qiMW6wav6Mm0HeEksjDtJZXbDHQ1aCLlkiNWwDMoc06o3O01bo-o9sKTL40aofTiM7y1KkIqDnejb2_DzZgyRxi3-D_kXvPArxQ2fQgRmaHPX_1OLZ51oe_7ibkhsCKD2wnDMmYbm_=w509-h291" width="509" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg5mSuCklg_U6VohuQ4QVB6JbGcUsVB9UJcI0sWzyA5pYUY7HuyILhL2cS2sy94UeN5cqbfQRwTe_JwsaMCA6gkndH05C3VH0A9FP0IGZWLMZHEg1quJRLOFthgzfXpvoGQ3wTcMt9Yhlyiev8mbBchITb9J2dTYXYWwVlft9az1op_B5ovkLZJ" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="480" data-original-width="840" height="291" src="https://blogger.googleusercontent.com/img/a/AVvXsEg5mSuCklg_U6VohuQ4QVB6JbGcUsVB9UJcI0sWzyA5pYUY7HuyILhL2cS2sy94UeN5cqbfQRwTe_JwsaMCA6gkndH05C3VH0A9FP0IGZWLMZHEg1quJRLOFthgzfXpvoGQ3wTcMt9Yhlyiev8mbBchITb9J2dTYXYWwVlft9az1op_B5ovkLZJ=w508-h291" width="508" /></span></a></div><span style="font-size: large;"><br /><br /></span></div></div></div><p></p><p></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">A concrete focus, in two films, on a specific place, Bunker Hill, downtown Los Angeles. One, CHICAGO CALLING, about a penniless recovering alcoholic who must suddenly find $53 to pay his phone bill, to hear news of his faraway wife and daughter, on whom his life depends. The problem of utility bills must not be left out of any housing rights to speak of. And another, BUNKER HILL, a soft-spoken film on the elderly pensioners who live on "the Hill", now threatened by commercial redevelopment, the demolition of their home and community. Then, a rough video-poem by Charles Burnett on being homeless, living out of one’s car in Los Angeles while working a low-wage job as a “temporary accountant” at Bank of America.</span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow";"><u><span style="font-size: large;">OCTOBER 16, Monday</span></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><u><br /></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>MAN’S CASTLE </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">A Vida é um Sonho </span></p><p style="text-align: left;"><span style="font-family: Arial Narrow; font-size: large;">1933, Frank Borzage. 75 min. E.U.A. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Idioma inglês sem legendas </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">**4K digital copy** </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><b>ANNUSHKA </b></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1959, Boris Barnet. 89 min. U.R.S.S. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Russo com legendas em inglês </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">sessão: 2 horas 44 min. mais intervalo </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhoig11nvki9A2ab7-MXTIv6w4sgdv9gonWHMCJTVTOrJkpO4BbGw0b9dg8xOITbt1VbJpfooR9JfBrEww3MEaB3RfI-wlPMolHH0ptUwXNytYTI-BJSzKpl1Pe5YtCxety2BAOq1Isg-ya8c_U6iT6fWKSQluKsmXi6AnN8tC0o58w_vOQQWJs" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="2308" data-original-width="3071" height="593" src="https://blogger.googleusercontent.com/img/a/AVvXsEhoig11nvki9A2ab7-MXTIv6w4sgdv9gonWHMCJTVTOrJkpO4BbGw0b9dg8xOITbt1VbJpfooR9JfBrEww3MEaB3RfI-wlPMolHH0ptUwXNytYTI-BJSzKpl1Pe5YtCxety2BAOq1Isg-ya8c_U6iT6fWKSQluKsmXi6AnN8tC0o58w_vOQQWJs=w788-h593" width="788" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhlv8NVeV3K-MomYtZbiAQVRVB0F1qUBStMR35KekGQ31ndLuA0VYl7G4jpy95QPG_fijTCOaq0IRVnKacZ55nOHDP2vVlV77EBtLrOOH3texjv3OynyVqKdswHs6IOlYQhLuaK_KziHCv3pJtoRPQwIEBw5-wdG1_X_QZrU3FE7ZS7ccIuYMOE" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="2245" data-original-width="2852" height="406" src="https://blogger.googleusercontent.com/img/a/AVvXsEhlv8NVeV3K-MomYtZbiAQVRVB0F1qUBStMR35KekGQ31ndLuA0VYl7G4jpy95QPG_fijTCOaq0IRVnKacZ55nOHDP2vVlV77EBtLrOOH3texjv3OynyVqKdswHs6IOlYQhLuaK_KziHCv3pJtoRPQwIEBw5-wdG1_X_QZrU3FE7ZS7ccIuYMOE=w516-h406" width="516" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSK7ZW80b5ijKD_uLi9z9yRYpNL8J_3SGkK3sat3v250gDBbqOZ-hByEUVjVI-KsiZPvIAX3izoQRW6JB-a0Hqh0imQoXOi1Jag8llyRZLp7HjyVXHWYM65-9CWCgipy15obvE8XMjQ7ygpSMqDWRjcgedF6uZiM33cfXrtBgPQ5X-4UpJ7Hha" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="564" data-original-width="744" height="322" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSK7ZW80b5ijKD_uLi9z9yRYpNL8J_3SGkK3sat3v250gDBbqOZ-hByEUVjVI-KsiZPvIAX3izoQRW6JB-a0Hqh0imQoXOi1Jag8llyRZLp7HjyVXHWYM65-9CWCgipy15obvE8XMjQ7ygpSMqDWRjcgedF6uZiM33cfXrtBgPQ5X-4UpJ7Hha=w425-h322" width="425" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhBr94LAiuwanxadOv7Xz-ktu7Yj_SmVuOlbyjXUvcGp0oc85-J-aDxzk4kOXo4x5kohOC2EXQqbCJs_QThsCn6w2SHUFG_jWsW694qdL7-RNx42LApwUg6oYotaY46DTQdYsqX6n4gZknFElpnn3q7_L4zbeUnRPj8oIMmotCsfPji1oQAoLJ6" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="564" data-original-width="744" height="326" src="https://blogger.googleusercontent.com/img/a/AVvXsEhBr94LAiuwanxadOv7Xz-ktu7Yj_SmVuOlbyjXUvcGp0oc85-J-aDxzk4kOXo4x5kohOC2EXQqbCJs_QThsCn6w2SHUFG_jWsW694qdL7-RNx42LApwUg6oYotaY46DTQdYsqX6n4gZknFElpnn3q7_L4zbeUnRPj8oIMmotCsfPji1oQAoLJ6=w430-h326" width="430" /></span></a></div><span style="font-size: large;"><br /><br /></span></div><p style="text-align: center;"><u><span style="font-family: Arial Narrow; font-size: large;"></span></u></p><div class="separator" style="clear: both; text-align: center;"><u><span style="font-family: Arial Narrow; font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhrvd01SAzuVJwOu6OIJ85TnC9_P_ofxVEMRFw5YL_uKEr2tbxPZLm-JUsi0VeOytInmtPT0-lBcJTPc6Kfo9qxcj7ttez_U0o9obZoj92Ij0f4jFNWmhZx7DxC5XHVLmrVIdyWgM5cVnwbDiAtY8Y1zYvZ6YvfHD738hVBmjR5dWHIhkYw2WZL" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1858" data-original-width="2451" height="531" src="https://blogger.googleusercontent.com/img/a/AVvXsEhrvd01SAzuVJwOu6OIJ85TnC9_P_ofxVEMRFw5YL_uKEr2tbxPZLm-JUsi0VeOytInmtPT0-lBcJTPc6Kfo9qxcj7ttez_U0o9obZoj92Ij0f4jFNWmhZx7DxC5XHVLmrVIdyWgM5cVnwbDiAtY8Y1zYvZ6YvfHD738hVBmjR5dWHIhkYw2WZL=w702-h531" width="702" /></a></span></u></div><span><span style="font-family: Arial Narrow; font-size: large;"><br /><div class="separator" style="clear: both; text-align: center; text-decoration-line: underline;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgQi7yRVfYEe-zxGjYSHgCdu0z21LsTKa29nTOJ947F2ykTnJnExuaoUgzjsgRx343EEzdFjbRbBKzi5ru5FyfCBVf3IxAxS9uXG18WuiaUTtQIL6QIebUb8jo4GL9VIkYqnvaguN45BnftsuL5NVZtT2vpXK3EZcTe0o4IXxVENeJ9y3C8sRAC" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="665" data-original-width="1117" height="284" src="https://blogger.googleusercontent.com/img/a/AVvXsEgQi7yRVfYEe-zxGjYSHgCdu0z21LsTKa29nTOJ947F2ykTnJnExuaoUgzjsgRx343EEzdFjbRbBKzi5ru5FyfCBVf3IxAxS9uXG18WuiaUTtQIL6QIebUb8jo4GL9VIkYqnvaguN45BnftsuL5NVZtT2vpXK3EZcTe0o4IXxVENeJ9y3C8sRAC=w476-h284" width="476" /></a></div><div style="text-decoration-line: underline;"><u><span style="font-family: Arial Narrow;"><br /></span></u></div><br /><br />A double bill. One Hollywood film (Borzage), one Soviet (Barnet)––a love story, a family story––on the restless yearning for a decent home amidst war: class war, world war. On the importance of being stubborn, even while living under or fleeing intolerable circumstances.<br /><br /></span></span><p></p><p style="text-align: left;"><u><span style="font-family: Arial Narrow; font-size: large;"><br /></span></u></p><p style="text-align: left;"><u><span style="font-family: Arial Narrow; font-size: large;">OCTOBER 17, Tuesday</span></u></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><u><br /></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">MINGUS </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">1968, Thomas Reichman. 58 min. E.U.A. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Idioma inglês sem legendas </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">EL BRUTO </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">O Bruto </span></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: "Arial Narrow";">1953, Luis Buñuel
81 min. </span><span style="font-family: "Arial Narrow";">México </span></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow";"><span style="font-size: large;">Espanhol com legendas em português </span></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">sessão: 2 horas 19 min. mias intervalo </span></p><p style="text-align: center;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-family: "Arial Narrow"; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow"; font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj_eo9vID1AXllVzfFoUlF7aCw0j7dP7oeSS7phFd90RGV7VDVmJBZhTQXB5BBt9IpM4vYfnO8HhlE4qeVC5m_sWcwDpkad93kzniXi0Gq6IpESo0X_FCLDg6pN57OYMKLUSVXV8w85tIgY333aY9_Q2HtGDtys86nEv-5L4uQwDIK91xizMx-Z" style="margin-left: 1em; 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margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="780" height="293" src="https://blogger.googleusercontent.com/img/a/AVvXsEh2ZCjh_6Q40612WkdxzexE3iQakdreyDfUEGZ_tRvRrrvt0N4jNPVvV7EjakysSO6qMk3L0sRovwcgDJzCxO2KcKuHuieQBpIYUWpjXpQ8eJeuqTw_yq9KkfSUXrsnAim5See6TDB8noyG9eyP_KjRK5qlnRDPrGozbhcD38WAw_GsE0HSBwKE=w398-h293" width="398" /></a><br /><br /></span></div><span style="font-size: large;"><br /></span><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br />What has eviction achieved? It has ruined Charlie Mingus's dream of a new music school in the Lower East Side, New York. </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow";"><span style="font-size: large;">Plus, a popular Mexican melodrama by Luis Buñuel, a tale and dissection of the family ties between a landlord, a "Brute”, and a group of tenants organizing themselves.</span></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><u style="font-family: "Arial Narrow";"><span style="font-size: large;"><br /></span></u></p><p style="text-align: left;"><u style="font-family: "Arial Narrow";"><span style="font-size: large;">OCTOBER 18, Wednesday</span></u></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><u><br /></u></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">JUVENTUDE EM MARCHA </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><i>Colossal Youth</i></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">2006, Pedro Costa. 155 min. Portugal </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;">Português e crioulo com legendas em português </span></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: "Arial Narrow";"><b>Guest</b>: </span><span style="font-family: "Arial Narrow";"><b>José Sinho Baessa de Pina</b>, who appears in the film as the "Gulbenkian Security Guard", and is today a </span><span style="font-family: "Arial Narrow";">community representative of Associação Cavaleiros São Brás</span><span style="font-family: "Arial Narrow";"> and <a href="https://vidajusta.org/manifestacao-vida-justa-21out23/" target="_blank">VIDA JUSTA</a>.</span></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow"; 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text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi49Dco8SrP4wMAP2NO_arFjXE1_s2vXz1mXiXWgTelgJtAyFjtNfLZKMPpPBDpKjgSvZcGADIYqeDpUlHP4QWW0nVjCr-fKlLUtVnkno8cGubFckHe41rRxkDWPO6Qbe6rprS8oaJtIzlW2BR-KLErvonOk7ZvbCBPy2_aYucDk50f4EDUYNPU" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="540" data-original-width="720" height="368" src="https://blogger.googleusercontent.com/img/a/AVvXsEi49Dco8SrP4wMAP2NO_arFjXE1_s2vXz1mXiXWgTelgJtAyFjtNfLZKMPpPBDpKjgSvZcGADIYqeDpUlHP4QWW0nVjCr-fKlLUtVnkno8cGubFckHe41rRxkDWPO6Qbe6rprS8oaJtIzlW2BR-KLErvonOk7ZvbCBPy2_aYucDk50f4EDUYNPU=w491-h368" width="491" /></a></span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj8ROK3lmtQoxNnDRXBQqaqlFnQSHh7DSdgLtUrXym_KF2k1K4SSQPD4qUJwWttvFJJWqk1hxYkScjxsEw8wi3QrJDNNkeT77_QUJ17eM_5DxhRXR9Ysv3MKquqzYxHRbIPY9rOFih-uOKG8lbe-P86iYeIQg4Dh2MIcK2ooGPhf42W61h5NnBB" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1440" height="368" src="https://blogger.googleusercontent.com/img/a/AVvXsEj8ROK3lmtQoxNnDRXBQqaqlFnQSHh7DSdgLtUrXym_KF2k1K4SSQPD4qUJwWttvFJJWqk1hxYkScjxsEw8wi3QrJDNNkeT77_QUJ17eM_5DxhRXR9Ysv3MKquqzYxHRbIPY9rOFih-uOKG8lbe-P86iYeIQg4Dh2MIcK2ooGPhf42W61h5NnBB=w490-h368" width="490" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></span></div><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></div><span style="font-family: "Arial Narrow"; font-size: large;">In 2006, Pedro Costa makes JUVENTUDE EM MARCHA (COLOSSAL YOUTH), an unshakeable epic of a people in transition: the relocation of the former inhabitants of shantytown Fontaínhas to the new social housing complex Casal da Boba, in Amadora, outside Lisbon. We follow Ventura––Cape Verdean immigrant, pioneer, builder of Fontaínhas, injured construction worker––who spends his nights reciting a love letter, trapped in 1974––for him, a terror––and his days with “his children” Vanda, Nhurro, Gustavo, Sinho, Paulo, in the new neighborhood, and Bete in the last house of </span><span style="font-size: large;"><span style="font-family: "Arial Narrow";">Fontaínhas</span><span style="font-family: "Arial Narrow";">. “Templo, cabana, deus-lares…” ("Temple, shack, house-diety...") says the Housing Agent showing Ventura his new Boba apartment. “...house's full of spiders,” Ventura replies...</span></span></div><div><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></div><div><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: x-large;">*</span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /><br />*The series title ONDE VAMOS MORAR? - WHERE ARE WE GOING TO LIVE? comes from a song lyric by José Afonso, from “<a href="https://www.youtube.com/watch?v=yKEaerOoYuA&ab_channel=Gamboneri" target="_blank">Canção Do Desterro (Emigrantes)</a>” - "Song of Exile (Emigrants)". </span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: "Arial Narrow";">With deep thanks to: João Dias, Abel Ribeiro Chaves, José Sinho Baessa de Pina, </span><span style="font-family: "Arial Narrow";">Rodrigo Dâmaso, </span><span style="font-family: "Arial Narrow";">Charles Burnett, Pedro Costa, Aurora Neves, Maria Capelo, José Neves, Mosfilm Cinema Concern, Christophe Clavert, Marta Mateus, Filipe Baixinho, Anna Neher, Sara Jesus, Billy Woodberry, Torpeda, </span><span style="font-family: "Arial Narrow";">Eliel Santos, </span><span style="font-family: "Arial Narrow";">Cinema Ideal, Kyriakos Dionysopoulos.</span></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-family: "Arial Narrow"; font-size: large;"><br /></span></p></div></div></div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-83553884684657050052023-10-10T10:20:00.001-07:002023-10-14T10:22:58.742-07:00<div class="MsoNormal">
<span style="font-size: x-large;"><i><span style="font-family: "times" , "times new roman" , serif;">Who Does the World Belong To? </span><br /></i>
<span style="font-family: "times" , "times new roman" , serif;">The place of a film* <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">by Bernard Eisenschitz </span><span style="font-size: x-large;"><o:p></o:p></span></span></div><div class="MsoNormal"><span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></span></div><div class="MsoNormal"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="MsoNormal" style="text-align: right;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEguxR0d6__lNvxogUYkHLuyQ_s8Ur9RlSU5-erGCvrGoykaaH0NuEmpg-yftWjbKmYfMGLR_zYBaiwGkzk0G2-YUM4ufvVE7M1aJCEWrW0d91gdX_c7Kb-oiLJ00aqOnEIZJThbLOZh8-ylzUdoizCGmJX2QXEPT429r0fE9qUIMeLqwW1UsATZ" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="1080" data-original-width="1286" height="352" src="https://blogger.googleusercontent.com/img/a/AVvXsEguxR0d6__lNvxogUYkHLuyQ_s8Ur9RlSU5-erGCvrGoykaaH0NuEmpg-yftWjbKmYfMGLR_zYBaiwGkzk0G2-YUM4ufvVE7M1aJCEWrW0d91gdX_c7Kb-oiLJ00aqOnEIZJThbLOZh8-ylzUdoizCGmJX2QXEPT429r0fE9qUIMeLqwW1UsATZ=w420-h352" width="420" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="font-family: times; text-align: right;"><span style="color: #999999;">Here rests our</span></div><div style="font-family: times; text-align: right;"><span style="color: #999999;">last hope for work:</span></div><div style="font-family: times; text-align: right;"><span style="color: #999999;">Come back</span></div></td></tr></tbody></table></div><div class="MsoNormal"><div style="text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times;"><span style="font-size: large;">1.</span></span></div><span style="font-family: times; font-size: large;">
<br />
The story of<i> Kuhle Wampe </i>derived from a short report
Slatan Dudow read in the newspaper about an unemployed worker committing
suicide. [1] Such news items were then as frequent as those that started Carl
Mayer on <i>The Last Laugh</i> and Brecht on <i>The Bread Shop</i> (<i>Der Brotladen</i>, 1929).
Thus it is significant that rather than choose a "rough piece of reality" as
raw material, the authors opted for the media's account of that reality. On the
other hand, once the contradictions contained in such material have been made
clear, a fruitful and desirable part of the dramatic work is to divide each
unit of the plot into sub-units, titles, and even newspaper articles (<i>A Man's
a Man</i>).<br />
<br />
In <i>Kuhle Wampe</i>, the role of the newspaper is confirmed by inscribing
its social function in the fiction: its function of production (if looking for
work becomes work, then the classified-ads paper, like the bicycle, becomes an
instrument of work); of reproduction (of bourgeois ideology: the father reads
out the story of the dancer Mata Hari while the mother is checking the
accounts); or its revolutionary function (the militant sale of Communist papers
at the Sports Festival).<br />
<br />
The importance of this initial stimulus is far from
negligible since it refers to the category of the "typical" as Walter Benjamin
defined it in his article on <i>Potemkin </i>[1a], and as the censor understood it in
his conversation with Brecht and Dudow (cf. <i>A Small Contribution to the Theme of
Realism</i>). For instance, the statistics for January 1931 record the
suicide of eight unemployed workers in a single day.[2] Thus one of<i> Kuhle Wampe</i>'s
most significant lessons is the relationship between the typical and the
notions of Gestus and montage.</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><o:p></o:p><br />
<br /></span></div>
<div class="MsoNormal"><div style="text-align: center;"><span style="font-family: times; font-size: large;">2.</span></div><span style="font-family: times; font-size: large;">
<br />
By 1930, industrial production had fallen by 40% since 1913, and, between 1929 and 1932, unemployment had risen from 13.2% of the working population to 43.8%. In January 1930, 80%
of those unemployed were drawing unemployment benefits, whereas by December,
the figure had fallen to 57%.<br />
<br />
"By January 1931, 700,000 unemployed
workers had to resort to help from welfare departments while 650,000 others
were no longer receiving anything. The
decree of December 1930 and the budget projected for 1931 provided for a
considerable reduction of the relief funds destined for the unemployed. . ."<o:p></o:p><br />
<br /></span></div>
<div class="MsoNormal"><span style="font-family: times; font-size: large;">
Since July 1930, the Reichstag's role had been almost nil.
The Brüning government was in fact operating through emergency decrees under
Article 48 of the Constitution, that allowed for the suspension of fundamental
rights.<br />
<br />
Faced with this situation, which favored the success of Nazi
propaganda among the middle classes and the peasantry, the Social Democrats
abdicated any political initiative, following instead the line of the "lesser
evil" and refusing in principle the "two terrors": the white and the red. And
its mass organizations remained idle, while as early as summer 1930 the Nazis
committed a series of assassinations. In March 1932, Carl von Ossietsky wrote
that <b>"The shocking fact in the present situation is not that fascism is on the
increase, but that the others are adapting themselves to it."</b> In contrast to
the Social Democrats' lack of perspectives, the masses had been radicalized and
the working classes had grown more pugnacious in the face of police repression
(between March 1931 and March 1932, 677 Communist workers were arrested,
54 others killed, while more than 4,000 Communist meetings were banned
and 700 others broken up). Thus organized activities could be found both in the
KPD itself and in the mass organizations whose aim was not directly political
but rather that of politicization, through the elaboration of Marxist practices
vis-à-vis culture, sport and the relationship between leisure and work; for
instance, the sports federation <i>Kampfgemeinschaft fur rote Sportein-heit</i>, under
Communist leadership and comprising 110,000 members.</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhRAVookLarndgV7Sm_LB1Ds83hlgfrBDZaRrhjW-O1C0vq9tH6qvcthCYvisyiNdUh0ORHIAr-IIh7HnUS3jGB7XCxn6UbyYNAFm4b8syMd1dSA1H6NvAhbhHGrx5vADXLCSVzOOgVUi3alJdAP3KxHHZ56Sm2tHEdhoVg8n5ie4Kkn8ua5Nmp" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1286" height="379" src="https://blogger.googleusercontent.com/img/a/AVvXsEhRAVookLarndgV7Sm_LB1Ds83hlgfrBDZaRrhjW-O1C0vq9tH6qvcthCYvisyiNdUh0ORHIAr-IIh7HnUS3jGB7XCxn6UbyYNAFm4b8syMd1dSA1H6NvAhbhHGrx5vADXLCSVzOOgVUi3alJdAP3KxHHZ56Sm2tHEdhoVg8n5ie4Kkn8ua5Nmp=w452-h379" width="452" /></a></div>
<div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><br />
However, the programme
presented by the KPD in August 1930 did contain some serious errors. Wilhelm
Pieck has pointed out that ". . . it did not sufficiently insist on the struggle
for the defense of democracy and of the political rights of the mass of the
people. . . . The attack was directed against the Nazis and the Social
Democrats alike, . . . the acuteness of the fascist peril was not yet
understood. The Party should have made every effort to form a united front of
the Communists and the Social Demo-crats . . . without being deterred by the
distinctly reactionary policies of the Social-Democrat leaders and their
rejection of unity of action." And in an analysis of <i>Kuhle Wampe</i> the belated
correction of these errors must, to some extent, be taken into consideration.</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><o:p></o:p><br />
<br /></span></div>
<div class="MsoNormal"><div style="text-align: center;"><span style="font-family: times; font-size: large;">3.</span></div><span style="font-family: times; font-size: large;">
<br /><b>
The unemployed worker's suicide</b> and the other situations
forming the fictional plot of <i>Kuhle Wampe</i> were not fresh material. They can be
found in the theatre, both in the naturalistic theatre of ideas, then
undergoing a revival, and in agit-prop, i.e., the amateur theatrical companies grouped
in the League of the Theatre Workers of Germany. Recent re-edition of the texts [3] has
revealed what seems to have been most often schematic dramatic writing; on
the other hand, the mise-en-scene marked a decisive departure from the
naturalism of the professional bourgeois theatre.</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhXwbp0Egfg7kA3Vbn8IZjZ6zzcZ-4ofCttKAZb3Ac9APfLJrab5kvAREwQwh3mMrUbfqv_WX7d-ZjI8MNdOdq-o3yuON7BgR7nhNJtZrFkmxuqEoBWFDlC1p-d2vdgVW1V7DUAQMPeh8UCW8OgYJdEtvQkMPxaQ3Kv9I9qxMQUj3JUck_M2aLO" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1286" height="437" src="https://blogger.googleusercontent.com/img/a/AVvXsEhXwbp0Egfg7kA3Vbn8IZjZ6zzcZ-4ofCttKAZb3Ac9APfLJrab5kvAREwQwh3mMrUbfqv_WX7d-ZjI8MNdOdq-o3yuON7BgR7nhNJtZrFkmxuqEoBWFDlC1p-d2vdgVW1V7DUAQMPeh8UCW8OgYJdEtvQkMPxaQ3Kv9I9qxMQUj3JUck_M2aLO=w520-h437" width="520" /></a></div><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;">
<br />
Finally, they could be found
in the cinema, in a populist current (with its side-lights and epigones, a
slight influence on large-scale production) corresponding qua production to the
agit-prop. Indeed, the company fostering most of these attempts, Prometheus,
was the German branch of a Soviet firm emanating from an international mass
organization, the MEZHRABPOM (the Russian acronym for International Workers'
Aid). But a production-distribution system creating its own "apparatus", as in
the theatre, was still a technical impossibility. [4] Militant films distributed
by revolutionary organizations were therefore distinctly separate from the
fiction films Prometheus also produced: these ranged from exposing exploitation
and misery (<i>Hunger in Waldenburg</i>) to social melodrama (<i>Jenseits der Strasse</i>).
Very superior to the bulk of contemporary German production, these films
indicated various attempts to depart from naturalism, in order to found a new
cinema along the lines of the Soviet films distributed by Prometheus. But even
in the best work, that of Piel Jutzi (<i>Hunger in Waldenburg</i>, <i>Mutter Krausens
Fahrt</i> <i>ins Gluck</i>), <b>passive reproduction of a reality supposedly containing
self-revelation blocked such attempts at the stage of active pessimism.</b> [5]</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br />
<br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: large;"><o:p></o:p></span></div>
<div class="MsoNormal"><div style="text-align: center;"><span style="font-family: times; font-size: large;">4.</span></div><span style="font-family: times; font-size: large;">
<br />
Brecht's "lax" views regarding intellectual property
are well known. To quote Bernhard Reich's description of how Brecht worked:<br />
<br />
<o:p></o:p></span></div>
<div class="MsoNormal"><span style="font-family: times; font-size: large;">
"Were a visitor to arrive Brecht would see this as a
positive asset to his work; he would read out a particularly difficult passage,
thereby either testing the quality of the work on his visitor, or checking it
with him. He would then immediately sit down at the typewriter and type out the
new version. Brecht knew that participation by a number of people was fruitful
to the work and he would gather around him young people, collaborators. They
would assemble material, discuss his plans with him, offer suggestions,
alterations, improvements; and they are featured as collaborators in his
publications." [6]<br />
<br />
Brecht did not use his capacity for appropriating and
assimilating the knowledge of others to claim it as his own knowledge, but with
a generative purpose, in order to make it function. For the artist of the
modern age, examples and models of art change according to its function; they
must be sought for in science as much as in critical or positively sarcastic
re-reading of the classics. Brecht named as his "best books of 1926" a series
of scientific and documentary works, and even only the illustrations of one of
these volumes. "From the reviews, I gather that books are not usually judged by their value as raw material, but that is how I
judge them." [7]<br />
<br />
This accounts for Brecht's disappointment when experts were
unable to explain to him the hidden mechanisms of the stock exchange.<br />
<br />
"I had
the feeling these processes could quite simply not be explained, that is, they
defeated reason, which in turn means they were irrational, that is all. The way
the world's grain was distributed could simply not be grasped. From every point
of view, except that of a handful of speculators, this grain market was but a
huge swamp. The drama I had envisaged I did not write; instead I began reading
Marx, and then — only then — did I read Marx. Now my own scattered practical
experiences and impressions really did begin to come alive." [8]<br />
<br />
Initiated by this
creative block during the Weimar Republic's period of relative stability,
Brecht's discovery of Marxism, a theoretical discovery, was soon to be
concretely anchored in the development of class struggles in Germany. In the
eyes of German intellectuals (for some only after their exile), these struggles
finally destroyed the classical image of the author. If Brecht was trying to
create the theatre of the scientific age, then the didactic play was the
theatre of this age at a given stage in its development. The analysis of the
proletarian organizations then led them to take into account some conclusions
reached by the avant-garde theatre, notably<b> </b>that the artistic producer (i.e., the
agit-prop troupes) inscribes the conditions of his production within the
aesthetic process.<br />
<br />
"When they (the workers) themselves wrote and produced for
the stage they were wonderfully original. The so-called agit-prop art, at which
people, not always the best people, turned up their noses, was a mine of new
artistic material and modes of expression. From it there emerged
long-forgotten, magnificent elements from genuine epochs of popular art, boldly
modified for new social aims: breathtaking short-cuts and compressions,
beautiful simplifications, in which there was often an astonishing elegance and
pregnancy and an unwavering eye for the complex.'' [9]</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><div style="text-align: center;"><span style="font-family: times;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; font-size: x-large; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEicWLDSv6n9zcVpcvxJA6Vj1sBrIBeGdPAOoR-VgBsu7fDyy33pQ0n_NufiG6puLr0VEQlf5-5soiEW8iBukKE4C-ARARAQeDR_CFVhy11bul1SUFvlMTcUBPONR8X1BWGnzK6uv8zs0YuOkAIfldd4-9x9sEKxUJ6SWhm2bEuqinKhqKiOixNB" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="1080" data-original-width="1236" height="285" src="https://blogger.googleusercontent.com/img/a/AVvXsEicWLDSv6n9zcVpcvxJA6Vj1sBrIBeGdPAOoR-VgBsu7fDyy33pQ0n_NufiG6puLr0VEQlf5-5soiEW8iBukKE4C-ARARAQeDR_CFVhy11bul1SUFvlMTcUBPONR8X1BWGnzK6uv8zs0YuOkAIfldd4-9x9sEKxUJ6SWhm2bEuqinKhqKiOixNB=w326-h285" width="326" /></a></td></tr><tr><td class="tr-caption" style="text-align: right;"><span style="color: #999999; font-size: small;">MISÈRE AU BORINAGE</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: right;"><br /></div></span></div><span style="font-family: times; font-size: large;"><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div>
This Dudow also learnt from
an extremely rich apprenticeship: from a traineeship on the shooting-set of
<i>Metropolis</i> via study of theatrical science with Max Hermann, work with an
agit-prop company, study in Moscow of the work of Meyerhold and Eisenstein (at
the height of the polemic about the "living man" and intellectual cinema) to,
finally, in September 1929, an assistantship in Brecht's theatre on the
<i>Schillbauerdamm</i>.<br />
<br />
For Dudow, to build a new theatre and destroy naturalism
required using and integrating knowledge from outside the theatre as it was
then conceived. His first premises for an aesthetic theory related to his political commitment were reached through
scientific theories: Max Planck and his critique of positivism, Einstein and
also Freud and Pavlov. [10]<br />
<i><br /></i>
<i>Kuhle Wampe</i> took position on a number of polemical
matters: intellectual cinema, kino-eye, agit-prop. "Here before our eyes are
impulses towards a progressive cinema," wrote Werner Hecht and Wolfgang
Gersch [11] quite correctly, referring to the contemporary character of the film.
The sentence could be re-written as follows so as to give some idea of the
effort of assimilation and reflection it implies: on the function of the cinema
as much as on existing aesthetic trends.<br />
<br />
Here, as in Brecht's theatrical work,
the notion of "collaboration" is totally meaningful. A working collective
where "discussion rather than authority was the determining factor" (Dudow).
Thus it was a blatant rebuttal of the crude contemporary notions of the cinema,
be it that film can never rank as an art since by nature it is a collaborative
procedure, or even that film is the only intrinsically, naturally
collaborative art (Kracauer).<br />
<br />
Indeed, such a working collective could only
arise in a production structure which did not challenge the existing one––an
absurd utopia, the experiment of <i>Kuhle Wampe </i>was very much conceived as unique––but rather the very function of film:<br />
<br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: large;"><o:p></o:p></span></div>
<div class="MsoNormal"><span style="font-family: times; font-size: large;">
"Naturally, the organization of the work was a much greater
effort for us than the (artistic) work itself, i.e., we came more and more to
treat organization as an essential component of artistic labor. This was only
possible because the work as a whole was political work" (<i>Collective
presentation of the film</i>). <o:p></o:p><br />
<br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div>
<div class="MsoNormal"><div style="text-align: center;"><span style="font-family: times; font-size: large;">5.</span></div><span style="font-family: times; font-size: large;">
<br />
In the spring of 1931, Dudow submitted the first draft of
a script to Brecht. He had already collaborated with him on the <i>Baden-Baden
Didactic Play</i>, the script <i>The Welt</i>, which was rejected by the producers of the
<i>Threepenny Opera</i> film, and <i>Die Massnahme</i>, put on in December 1930. <b>The script
tells of an unemployed worker's suicide and of his family's subsequent attempts
to avoid despair</b>.<br />
<br />
1930 was the year of the lawsuit against the producers of the<i>
Threepenny Opera </i>film and of a number of didactic plays. In 1931 the activities
of the group gathered around Brecht moved towards expanding and developing the
notion of the didactic play. This was later superseded by the elaboration of
the epic form.<br />
<br />
The initial communal work on the script followed soon after
Brecht and Dudow had produced a revival of <i>A Man's a Man</i> in Berlin. Likewise,
the shooting was to be contemporary with the collective writing of <i>The Mother</i>.
This first version of the script has been preserved. [12] It includes two of
the three major parts of the finished film:<br />
<br />
"<b>one less unemployed</b>" — an
unemployed worker's quarrel with his father, who is also out of work, and his suicide. "The
young man in question, before he threw himself from the window, took off his
watch so as not to destroy it" (<i>ibid</i>);</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;">
<br />
"<b>the ideal life for a young person</b>" —
on eviction, the family takes refuge in a camp site on the outskirts of Berlin,
Kuhle Wampe. "There the girl gets pregnant and under pressure from the
lumpen-petit bourgeois relations dominant in the site (a kind of "
possession " of the land and the payment of a small pension create
characteristic social forms), the young couple become engaged" (<i>ibid</i>).</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgciz_RtkwuxHMwfWERRnmqxew14BqmW8bJgsGQDoRzlODimDXrNxuh7B4KQgtNYe7X5N8gf2GOHEnClouB18GKfX17aqLk9yLnIYnjicWKUrwFtkJ49q2nl4E0jcciKSp-kqO8W9Zb7S6aMq3Fh_LPgEbnx4lc6Qvc23uXRpOugOzZNSUxwkZn" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1286" height="377" src="https://blogger.googleusercontent.com/img/a/AVvXsEgciz_RtkwuxHMwfWERRnmqxew14BqmW8bJgsGQDoRzlODimDXrNxuh7B4KQgtNYe7X5N8gf2GOHEnClouB18GKfX17aqLk9yLnIYnjicWKUrwFtkJ49q2nl4E0jcciKSp-kqO8W9Zb7S6aMq3Fh_LPgEbnx4lc6Qvc23uXRpOugOzZNSUxwkZn=w450-h377" width="450" /></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgeh8BQtRJ8PObepat72HWcomaEmaum8v98l6JIcGazkIZUQg-na9HyIrLsWIjfHvleRPR7XF5-hL3Kvzi7mWTNM0cmfcZkYQo_daYmFtiUeLAIhvvZ73GK12CoP_yk9FmSA2kMN85VhVNL0PB2sVLqNN9XF81FFm7AIYaNaz1R3KD88nkUjn39" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="1080" data-original-width="1286" height="377" src="https://blogger.googleusercontent.com/img/a/AVvXsEgeh8BQtRJ8PObepat72HWcomaEmaum8v98l6JIcGazkIZUQg-na9HyIrLsWIjfHvleRPR7XF5-hL3Kvzi7mWTNM0cmfcZkYQo_daYmFtiUeLAIhvvZ73GK12CoP_yk9FmSA2kMN85VhVNL0PB2sVLqNN9XF81FFm7AIYaNaz1R3KD88nkUjn39=w450-h377" width="450" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: right;"><span style="color: #666666;">High-Voltage!</span></div><div style="text-align: right;"><span style="color: #666666;">Danger!</span></div><div style="text-align: right;"><span style="color: #666666;">Life-threatening!</span></div></td></tr></tbody></table><br />
<br />
As with
several of Brecht's scripts, collected in the volumes of his <i>Texte fur
Filme</i>, [13] this particular version can be seen to function as a figured
bass. The tale is there (and so is most of the dialogue of the first part),
but in the form of a continuous dramatic narrative. There are no ellipses, no
external elements: the montage, the insertion of documents are virtually
absent. There is but one indication of (traditional) montage during the removal
to Kuhle Wampe (in the film another solution was in fact adopted), and a few "inserts" of external material: an advertising billboard for "Fromm's Act",
which was shot and then cut by the censors who considered it to "indicate all
too clearly what the young couple might have done to avoid the problems their
liaison had given rise to"; [14] the reading in a "dry tone" of paragraph 218,
the legislation against abortion, which was also cut by the censors; and the
story of the spy Mata Hari.</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhKPOwmKBsS_20iF8tHLbK50nqg3AngkyGqFnUTEvCKhr9o_Yd-ADI5oFonKTiCmlDxrVwHtHNNeMtCZR3-0-QDjS1Wuwcmva2djysuLnWNFGOhURfDPnKIv0mn_MHp4AZP2uuXiY4C8d1vQORTZTu_sVAy7Ok86KRTZr1cQFB4ZhgauOB0kcb2" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1286" height="319" src="https://blogger.googleusercontent.com/img/a/AVvXsEhKPOwmKBsS_20iF8tHLbK50nqg3AngkyGqFnUTEvCKhr9o_Yd-ADI5oFonKTiCmlDxrVwHtHNNeMtCZR3-0-QDjS1Wuwcmva2djysuLnWNFGOhURfDPnKIv0mn_MHp4AZP2uuXiY4C8d1vQORTZTu_sVAy7Ok86KRTZr1cQFB4ZhgauOB0kcb2=w380-h319" width="380" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhZ8oVrawy2eT-dYo_WIXWzpU_lRT035y99iNt5uIPorY71b9eh0KT-HT-B1I_tXby3T6ANWGhRA-xZFxdZZY4E9NUBDlSC92lWpErZaS9c3078yfDgrNAQpUKDYNlBunoAJoRgNUBgb5LDH-UO2W3YnUS_5WeYJypyRsvq4LZaUymohfVqEySq" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1286" height="323" src="https://blogger.googleusercontent.com/img/a/AVvXsEhZ8oVrawy2eT-dYo_WIXWzpU_lRT035y99iNt5uIPorY71b9eh0KT-HT-B1I_tXby3T6ANWGhRA-xZFxdZZY4E9NUBDlSC92lWpErZaS9c3078yfDgrNAQpUKDYNlBunoAJoRgNUBgb5LDH-UO2W3YnUS_5WeYJypyRsvq4LZaUymohfVqEySq=w385-h323" width="385" /></a></div><br />
<br />
The lacunae in this first script give some idea of
the type of intervention Brecht and his co-operative made upon the story. "Foreign elements" were to abound: informative and ideological inserts, which
are simultaneously indications, allusions and rhythmic pauses. Benjamin's
definition (<i>The Author as Producer</i>) requires complementation:<br />
<br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: large;"><o:p></o:p></span></div>
<div class="MsoNormal"><span style="font-family: times; font-size: large;">
"This uncovering of the conditions is effected by
interrupting the dramatic processes; but such interruption does not act as a
stimulant; it has an organizing function. It brings the action to a standstill
in mid-course and thereby compels the spectator to take up a position towards
the action. . . . Let me give an example to show how Brecht, in his selection
and treatment of the <i>Gestisch</i>, simply uses the method of montage — which is so
essential to radio and film." [15]<o:p></o:p><br />
<br /></span></div>
<div class="MsoNormal"><span style="font-family: times; font-size: large;">
Montage here means the very process by which a new dramatic
art relocates actors and story within a chain of causality, and the spectator's
interest is no longer aroused by harmonizing with his emotions, but through
recognition — of reality — and of what is at stake in that reality. The cinematic
process itself is but one of the modalities of that construction principle, its
most frequent application being the inclusion of material that resists the
fiction: legal paragraphs, news items, an agit-prop scene miming the family
being evicted, and also the sequences of "intellectual montage" that were to
develop in the film and determine its new economy: "self-contained pieces of
music accompanied by images of apartment blocks, factories and landscapes" (<i>Collective presentation</i>). The autonomy of the various elements creates
their global meaning: that of the montage sequences on the same basis as that
of the three ballads that punctuate the film.<br />
<br />
Music with words ("music without
words," says Eisler, acquired its great importance and its full development
only under capitalism") –– songs and ballads –– also represents a unit which is
in contradiction with the other units in the film, an active function more
significant than the words themselves: "We intervened in everyday life; were
something new to happen, Brecht would be the first to call me: '<b>We ought
to do something</b>' . . ." (Eisler).<br />
<br />
The composer's contribution to the
shaping of the shooting-script seems to have been of paramount importance, and
is confirmed in an article in<i> Film Kurier</i> devoted to this now lost
script. [17]</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br />
<br /></span></div>
<div class="MsoNormal">
<span style="font-family: times; font-size: large;"><o:p></o:p></span></div>
<div class="MsoNormal"><div style="text-align: center;"><span style="font-family: times; font-size: large;">6.</span></div><span style="font-family: times; font-size: large;">
<br />
For the first time since <i>Drums in the Night</i>, one of
Brecht's dramatic works was set in contemporary Germany. The previous attempt,
<i>The Bread Shop</i>, had remained a fragment. The songs in<i> Kuhle Wampe</i> form a
significant part of the production. Some (e.g. 'The Solidarity Song') were
popular before the film's release; others, which were not used, remain only as
poems. Like an incomplete play, a poem may be a fragment; a fragment may have
power in itself. The epic form is founded on this unit: a scene becomes a
fragment. The key situation in <i>Kuhle Wampe</i> (the eviction), described in the
agit-prop piece performed by the Rote Sprachrohr, is "a state of fact" (note,
moreover, that this actual moment was not in the first script); the
juxtaposition of such "states of fact" (or Gestus, or elements of montage as
Benjamin calls them) allowed Dudow-Brecht-Ottwald-Eisler to <b>represent reality
taking shape, in other words as malleable</b>. Thus the project took on
totalizing proportions: a dialectic of the revolution, not in the historical
idiom (<i>The Mother</i>) but in the modern idiom.</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal" style="text-align: center;"><span style="font-family: times; font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhJx-kDiyfgsbgJOwNv5Sr5g4p6ft4KRFjWPiAG92XgpE1vUP7NkLywpKs5xSffOx-nWO-CSJsyU8JFfsz7artwr1txhjblSDcFdw1mxiLso9RlBQFlLwqkLix2-wi8oEgffSVstwxrZ1-7g-UNaZ2YtCgYH9yha14mMrNen53t5pgH-16Wn_VC" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1286" height="349" src="https://blogger.googleusercontent.com/img/a/AVvXsEhJx-kDiyfgsbgJOwNv5Sr5g4p6ft4KRFjWPiAG92XgpE1vUP7NkLywpKs5xSffOx-nWO-CSJsyU8JFfsz7artwr1txhjblSDcFdw1mxiLso9RlBQFlLwqkLix2-wi8oEgffSVstwxrZ1-7g-UNaZ2YtCgYH9yha14mMrNen53t5pgH-16Wn_VC=w416-h349" width="416" /></a></span></div><div class="MsoNormal" style="text-align: center;"><br /></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjTH0WdJF5u0Jzs7IgUQjHVqTKHIq5Q4uZiSzp25EwEmny9FMFUcaJxEIu1WF-yRucdktR6zcvXTQo5M01YqFvqCIZkG2TTTxdrIQdX2PKUT4rZWR27HKRrv0gBWdZGSy1c1box9SByLu1DTKjf_g0mcaEp4_5t3VGRcifRcNxWeJcQG7iU2g0o" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1286" height="504" src="https://blogger.googleusercontent.com/img/a/AVvXsEjTH0WdJF5u0Jzs7IgUQjHVqTKHIq5Q4uZiSzp25EwEmny9FMFUcaJxEIu1WF-yRucdktR6zcvXTQo5M01YqFvqCIZkG2TTTxdrIQdX2PKUT4rZWR27HKRrv0gBWdZGSy1c1box9SByLu1DTKjf_g0mcaEp4_5t3VGRcifRcNxWeJcQG7iU2g0o=w601-h504" width="601" /></a></div></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;"><span style="font-family: times; font-size: large;">
7. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;">At a moment when access to the apparatus (professional
theatres, radio, cinema) was more and more definitely barred to those works
that represented the viewpoint of the proletariat and its allies, the political
task was no longer the one the didactic plays had set themselves: "These
productions were put on less for the spectators than for the participants; it
was less an art for consumers than one for producers." [18]<b> </b>The epic form of
<i>The Mother </i>and <b><i>Kuhle Wampe</i> was no longer directed solely at sympathizers, a
subjective criterion, but — and this is an objective criterion — to those who
are not exploiters</b> ("<b>even if the entire world does not feel concerned by Communism, Communism nevertheless is
concerned with the whole world</b>"). [19]</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><o:p></o:p></span></div>
<div class="MsoNormal"><span style="font-family: times; font-size: large;">
It is therefore significant that when <i>Kuhle Wampe</i> was
screened in cinemas in Berlin and its suburbs in June 1932, it was the last
public showing of one of Brecht's works in pre-fascist Germany. The stake of
this new sociological experiment "did not allow for the irony of the "Threepenny Lawsuit"; any lesson could only be drawn from the film insofar as
it was actually distributed. The question to answer, though, concerned the use
of the cinema in a political struggle and the comparative impact of the theatre
and the cinema; moreover, in theoretical terms, the film being held up by the
censors represented an absolute loss. <o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div>
<div class="MsoNormal"><span style="font-family: times; font-size: large;">
Two final remarks: </span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;">— the place Brecht assigned the cinema.
The production of<i> Kuhle Wampe</i> contradicts the accepted view that Brecht's
interventions in that field were only occasional and/or disastrous (<b>a man of
words, he is supposed not to have understood this art of the image . . .</b> ). Yet
precisely in an occasional work, Brecht would act as a function of the
occasion, as he always did; his dramatic work as a screen writer also fulfilled
above all a strategic function. Note here two passages from his <i>Arbeitsjournal</i>
(Suhrkamp Verlag, Frankfurt 1973): the precise account of his efforts in
Hollywood, of his relations with Fritz Lang, testify to an exemplary attempt to
use capitalist apparatus for progressive ends<b> </b>(and not just to earn a living
alongside the merchants of lies). And in the DDR, his positive critical "attitude toward the new-born DEFA (national film industry), showing no
indulgence and forever offering suggestions. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;">— the need for a new criticism to
deal with the new dramatic art was even more blatant in the cinema than in the
theatre –– "where the policeman had become the critic most interested" in
revolutionary drama. This was Brecht's intention in <i>A Small Contribution to
the Theme of Realism</i> which, although it ought to be quoted in full [20], "deals
with the censor's special interest in the significance of <i>Kuhle Wampe</i> vis-a-vis
the public and in the political effectiveness of its montage, noting in
particular that the film induced a critical attitude. Indeed, the cuts affected
precisely the montage elements, not the action; and the censor's reproaches on
aesthetic grounds." (Brecht's account is not in the least idealized — see the
protocols of the censorship, which are a good example of scientific
criticism)<b> </b>[21]<b> </b>were the ones that involved the causal relations the film
unmasked, i.e., <b>the significance of an aesthetic within a given society</b>. <b>What was
under discussion then, too, was decided by a mass action, was (still is:
Jean-Marie Straub's <i>History Lessons</i>, taken from<i> The Affairs of Mr Julius Caesar</i></b><b>) "becoming-popular" as much as "being-popular"</b>.</span></div><div class="MsoNormal"><span style="font-family: times; font-size: large;"><br /></span></div><div class="MsoNormal">
<span style="font-family: times; font-size: large;"><br />
<br />
</span><div class="MsoNormal">
<div style="text-align: right;">
<span style="font-family: times; font-size: large;">*<i> </i>First published as</span></div><div style="text-align: right;"><span style="font-size: large;"><span style="font-family: times;">"A qui appartient le monde? </span><span style="font-family: times;">Place d'un film"</span></span></div><div style="text-align: right;"><span style="font-size: large;"><span style="font-family: times;"><i>L'Arc</i> no. 55 (1973), </span><span style="font-family: times;">Aix-en-Provence. </span></span></div><div style="text-align: right;"><span style="font-size: large;"><span style="font-family: times;">Issue: <i>Après Brecht, </i></span><span style="font-family: times;">1973</span></span></div><div style="text-align: right;"><span style="font-family: times;"><span style="font-size: large;"><br /></span></span></div></div><div class="MsoNormal"><div style="text-align: right;">
<span style="font-family: times; font-size: large;">Translation: Kari Hanet</span></div>
<div style="text-align: right;">
<span style="font-size: large;"><span style="font-family: times;"><i>Screen, </i></span><span style="font-family: times;">Summer </span><span style="font-family: times;">1974</span></span></div>
<div style="text-align: right;">
<span style="font-family: times; font-size: large;">vol. 15, no. 2</span></div><div style="text-align: right;"><span style="font-family: arial; font-size: large;"><br /></span></div><div style="text-align: right;"><span style="font-family: times; font-size: large;"><br /></span></div>
</div>
</div>
<div class="MsoNormal"><b><span style="font-family: times;"><br /></span></b></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;"><b>
Notes</b></span></div>
<div class="MsoNormal"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">1. I shall refer to Werner Hecht and Wolfgang
Gersch, eds, <i>Kuhle Wampe, Protokoll des Films und Materlalen</i>, Suhrkamp Verlag,
Frankfurt 1969. The edition which appeared in the DDR in 1971 (Reclam, Leipzig)
is considerably more complete. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">1a. 'Answer to Schmitz' <i>Literarische
Welt</i>, no. 10, March 11, 1927, pp 7-8. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">2. Gilbert Badia :<i> La Fin de la
Republique allemande</i>, Editions Sociales, Paris 1958. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">3. See Ludwig Hoffmann and
Daniel Hoffmann-Ostwald:<i> Deutsches Arheitertheater 1918-1933, eine
Dokumentation, Berlin 1961</i> –Editor's note. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">4. On this point Willi Münzenberg's
little book <i>Erobert den Film!</i> (1925) should be analyzed, and also the Japanese
experience of Pro-Kino, which, according to Sadoul, worked in 16mm film at the
end of the 1920's. [Münzenberg's book has been reprinted in<i> Materialistische
Wissenschaft</i> no. 7, Berlin 1973, pp 75-105 – Editor's note.] </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">5. <i>Hunger in
Waldenburg</i>, dir Piel Jutzi, 1924, <i>Jenseits der Strasse</i>, dir Leo Mittler, 1929,
<i>Mutter Krausens Fahrt ins Gluck</i>, dir Piel Jutzi, 1929 – Editor's note. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">6.
Bernard Reich: 'Erinnerungen an den jungen Brecht<i>',</i> <i>Sinn und Form</i>, Heft 1,
2, 3, 1957, <i>Zweites Sonderheft Bertolt Brecht</i>, pp 434-5. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">7. XVIII, 51. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">8. XX.
46. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">9. Bertolt Brecht: ' Popularity and Realism,' <i>New Left Review </i>no. 84,
March-April 1974, p 52. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">10. Information drawn from Hermann Herlinghaus: <i>Slatan
Dudow - sein Frilhwerk</i>,' Filmwissenschaftliche Mitteilungen, Berlin, 1962 no 4.
The same number contains the censorship protocols about <i>Kuhle Wampe</i>. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">11. Kuhle
Wampe Protokoll, op cit, p 179. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">12. Cf. ibid, pp 83-8. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">13. Ed. Wolfgang Gersch
and Werner Hecht, Berlin-Weimar 1971, two volumes. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">14. <i>Kuhle Wampe Protokoll</i>,
op cit, p 139. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">15. Walter Benjamin: <i>Understanding Brecht</i>, NLB, London 1973, p
100. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">16. Cit. Walter Benjamin, ibid, p 96. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">17. <i>Film Kurier</i>, Berlin, August 13,
1931. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">18. 'Bertolt Brecht : Das Deutsche Theater der zwanziger Jahre,' XV, 239.
Cf 'The German Drama : Pre-Hitler,' <i>Left Review</i>, Vol II, July 1936, pp 504-8 -
Editor's note. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">19. ' Anmerkungen zur Mutter,' XVII, 1064-5. </span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">20. Originally cited in
full in the same issue of <i>Screen</i>, Summer 1974, vol. 15, no. 2 –Slang note.</span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;">21. <i>Kuhle Wampe Protokoll</i>, op cit, pp 103-39.
translated by Kari Hanet.<o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="MsoNormal" style="text-align: right;"><span style="font-family: times; font-size: medium;">––with thanks to B.E. for his permission to republish this essay</span></div>
<div class="MsoNormal" style="text-align: right;"><span style="font-size: medium;"><br /></span></div>
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Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-18481735074763298002023-10-03T13:57:00.005-07:002023-10-05T18:33:29.216-07:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhn14-1P9rDRGio1lQL6qsoGmZmJR3jIOpRlaaIUrLRPZzbRn_iR1GUUqdCl2pT2X42gzmyFvxK9wAW6-lWBlrbmlYLGkm9BvO1bAzSVIZWTECMJp12HLTS1WpFV3bA-cHMBc3WCy7JWZcNv7RXs-KLPJlb6eJQK8fthZZSTZtcOOL1LfsbrCWj" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhn14-1P9rDRGio1lQL6qsoGmZmJR3jIOpRlaaIUrLRPZzbRn_iR1GUUqdCl2pT2X42gzmyFvxK9wAW6-lWBlrbmlYLGkm9BvO1bAzSVIZWTECMJp12HLTS1WpFV3bA-cHMBc3WCy7JWZcNv7RXs-KLPJlb6eJQK8fthZZSTZtcOOL1LfsbrCWj" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><br /></div><div class="separator" style="clear: both; text-align: right;"><a href="." style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="419" data-original-width="436" height="387" src="https://blogger.googleusercontent.com/img/a/AVvXsEhmxdTwPUbWxmUmro1HpbA5yxJV9vVXh8NBibsX_33ihep-8NIf5WAtUC4q_Z0Kysmg6f_wxplFHGZdZ_iZ4omadLGOAaOT4RU09Bv96IUVraIExI9A9w_UurSd9XSczXpZHzPSjGZk1GBU2i10otxcemWkQqt-8PKdsEV9uB48kHmHt3KjWeJU=w403-h387" width="403" /></a></div><div><div style="text-align: right;"><br /></div></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><p></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span face="Arial, sans-serif" style="font-style: italic; white-space: pre-wrap;"><span style="font-family: arial; font-size: large;">Teaching Symmetry:</span></span></p><div class="separator" style="clear: both; text-align: center;"><span id="docs-internal-guid-9440d520-7fff-96d5-9830-40ff5b0781a4"><span style="font-family: arial; font-size: large;"><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">On Pedro Costa’s </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As filhas do fogo </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">(The Daughters of Fire)</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">by Rinaldo Censi</span></p><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We don’t know in which port in the Antilles archipelago the cargo ship SS Glencairn is docked. It might be St. Thomas. On the ship’s deck two men are talking. There’s a party going on. The cargo ship will depart soon, loaded with munitions. Destination England. The native women have brought rum in abundance. One of the two men drinks. The other one no. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">If he had continued to, he'd be dead. </span><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Long Voyage Home</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is a film made by John Ford in 1940. Gregg Toland’s photography here seems roughly to anticipate the depth of field that Welles will use a year later in </span><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Citizen Kane</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Smitty drinks and looks distracted. A song is heard from the mainland. Is this what makes him nervous?</span><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 35.45pt;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“If I didn’t know we were in the West Indies, I’d imagine we were anchored off some island for the dead. The ghosts are wailing, Donkeyman.”</span><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 35.45pt;"><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 35.45pt;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“What’s bothering you, Smitty?”</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 35.45pt;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 35.45pt;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“Oh, memories, Donkeyman.” </span><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 35.45pt;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 35.45pt;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“Every time we get near the land you get that look on your face. When a man goes to sea, he ought to give up thinking about things on shore. Land don’t want him no more. I had me share of things going wrong, and it all came from the land. Now I’m through with the land, and the land’s through with me.</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">”</span><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 35.45pt;"><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 35.45pt;"><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgqNYqS5WNpLJPA9cNqnwxYuuV6pw1UURcF0RPQhw53NS15MGGK9yVlUmpGwaBOdvZnXnRE_-DmRbBxYT9raIl6BwhtgqLMtRquF8brbbRbOfHGVNl_wbvlx-4W_b99IMkwnKZkc8byFNxAN8dLSXoopl8C55LBKKbuyyk3KZzcbmmaMLvyq3O2" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="453" data-original-width="612" height="412" src="https://blogger.googleusercontent.com/img/a/AVvXsEgqNYqS5WNpLJPA9cNqnwxYuuV6pw1UURcF0RPQhw53NS15MGGK9yVlUmpGwaBOdvZnXnRE_-DmRbBxYT9raIl6BwhtgqLMtRquF8brbbRbOfHGVNl_wbvlx-4W_b99IMkwnKZkc8byFNxAN8dLSXoopl8C55LBKKbuyyk3KZzcbmmaMLvyq3O2=w554-h412" width="554" /></a></div><br /></span></span><p></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial; font-size: large;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span> </span>Islands. Memories impossible to forget. The Cape Verde archipelago, so present in the films of Pedro Costa, is moved decisively closer to Africa. But the parallel is roughly the Antilles. Those songs Smitty is hearing, have they the same origin? It may be the same stories of vampires, witches, gardeurs. Stories that could have been sung by old Sidone, writes the Creole writer Derek Walcott, originally from Santa Lucia, Antilles. Christian and African songs. Stories about children lost in the middle of a forest. Mythological stories of snake skins after their shedding. “All these sank like a stain. And taught us symmetry.” Folktales that conceal a structure that is tripart, universal. “Sprung from hearthside or lamplit hut door in an age when the night outside was a force, inimical, infested with devils, with demons, a country for the journey of the soul, and any child who has heard its symmetry chanted would want to retell it when he was his own storyteller, with the same respect for its shape.” The first minutes of </span><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">O nosso Homem </span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">(<i>Our Man</i>)</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, which Pedro Costa made in 2010, seem to be summarized here. </span><span face="Arial, sans-serif" style="color: red; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In Cape Verde a man delivers death letters without being noticed. A mother tells this to her son. They live on the margins of Lisbon. She continually remembers Cape Verde: her house. She wants to return there, to rest her bones.</span></span></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhiV4NyO8_CBmhIuNbTkFX31q2c26hn9CgIM684tuZWC6AIoZ40BfZuel4f1Ef4uF2v7lVL4XWhm-N9bKLWbvLSue1EI_lpkygnGloanSqsLSECIQSQscZKNLaSm_b8GVZ7xK4JqAo6b8RQG8ylFA8xVRoVgqA6jGHwYSE9dVKBdEdH1BLQrohT" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img alt="" data-original-height="800" data-original-width="1068" height="443" src="https://blogger.googleusercontent.com/img/a/AVvXsEhiV4NyO8_CBmhIuNbTkFX31q2c26hn9CgIM684tuZWC6AIoZ40BfZuel4f1Ef4uF2v7lVL4XWhm-N9bKLWbvLSue1EI_lpkygnGloanSqsLSECIQSQscZKNLaSm_b8GVZ7xK4JqAo6b8RQG8ylFA8xVRoVgqA6jGHwYSE9dVKBdEdH1BLQrohT=w588-h443" width="588" /></span></a></div><span style="font-family: arial;"><br /></span></div></div></div><p></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 14pt; margin-top: 14pt; text-align: left;"><span style="font-family: arial;"><span style="font-size: large;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span> </span>The islands. The mainland. The stories and the songs. The symmetrical movement: that of the stories told, handed down; that of the memories, and of the space which separates the emigrant population from its native soil. Even if distant, something carries them back there. Maybe, truly, the only way to forget is to voyage by sea and never stop. In </span><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Juventude em marcha</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (<i>Colossal Youth</i>, 2006) a woman (Clotide, Ventura’s wife) throws the household furniture out the window, into the darkness of what remains of the Fontaínhas quarter. Then, grasping a knife, she recalls her youth in Cape Verde. The ocean. Her skill at swimming.</span></span><span face="Arial, sans-serif" style="text-indent: 35.45pt; white-space: pre-wrap;"><span style="font-size: large;"> None of the boys had the courage to follow her.</span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 14pt; margin-top: 14pt; text-align: left;"><span face="Arial, sans-serif" style="text-indent: 35.45pt; white-space: pre-wrap;"><span style="font-family: arial; font-size: large;"><span> </span>“The sharks, Clotide!” </span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 14pt; margin-top: 14pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span> </span>But not even the sharks would come near. The children on the rocks, in tears. </span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 14pt; margin-top: 14pt; text-align: left;"><span style="font-family: arial; font-size: large;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span> </span>“I never wanted to return. But I always did.” </span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 14pt; margin-top: 14pt; text-align: left;"><span style="font-family: arial; font-size: large;"><span face="Arial, sans-serif" style="white-space: pre-wrap;"><span> </span>Her gaze drops. The story, the word, is a song.</span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 14pt; margin-top: 14pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; white-space: pre-wrap;"><br /></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 14pt; margin-top: 14pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh6C_pJxnh9Eqj6p0QG6BuAFEyeINu0eeIouUudu2s4ioRyNVRkcXrSCbx71hP36MPweLWhQ7poc9wXNozKbDnEPgdwJ8BaR8ixrAYdYUwFMGqISZvtPnaCp4OhVUddFXwWxj1i0hyXKLvxeVlxYthWYJ784I0tJ9RPlXcNfgNdZp4jrvsBrvmZ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="800" data-original-width="1062" height="477" src="https://blogger.googleusercontent.com/img/a/AVvXsEh6C_pJxnh9Eqj6p0QG6BuAFEyeINu0eeIouUudu2s4ioRyNVRkcXrSCbx71hP36MPweLWhQ7poc9wXNozKbDnEPgdwJ8BaR8ixrAYdYUwFMGqISZvtPnaCp4OhVUddFXwWxj1i0hyXKLvxeVlxYthWYJ784I0tJ9RPlXcNfgNdZp4jrvsBrvmZ=w634-h477" width="634" /></a></span></div><p></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial; font-size: large;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span> </span>Since </span><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Casa de Lava</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, Pedro Costa’s films revolve around this Cape Verdean immigrant community. It is starting with this film that a letter begins to circulate from Robert Desnos to his wife Youki. Again and again. This text begins to pass through other films: altered, modified, interpolated. And it’s as if a mechanism had been triggered, starting from that letter. The thought comes that his films basically are transformed into missives, material gathered</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> into the form of stories, songs. Perhaps another way of staging that symmetry Walcott talks about. Sent to a recipient that is no more (the letters often have to do with ghosts, memories, dead people). Missives addressed to a future past: the recipient will be someone who, in turn, will collect them, recount them, adding his own story. Vanda, Ventura, Pango Vitalina, Clotilde, the three young women in the latest, the magnificent </span><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As filhas do fogo</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (2023), are all figures who put memory in movement again in the form of letters sung, recounted. The hardness of the work, the reproaches to the husbands, the fatigue and the fear, the mourning, the nostalgia, the memory of the wild nature of the islands. The movement is quasi metronomic. In </span><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As filhas do fogo</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, three young women have left the island to reach some European port. What they now face is just fatigue, pain. Three voices stretch a sort of polyphony of the memory on a tripartite screen. The film is yet another missive that Pedro Costa collects, like a postman. Past future. The memory. The song as paradigm of the exchanges that never cease to take place. How not to think of that passage in the eleventh chapter of Augustine’s </span><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Confessions</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">:</span></span></p><div style="text-align: left;"><span style="font-family: arial; font-size: large;"><br /></span></div></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div class="separator" style="clear: both; text-align: center;"><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial;"><span style="font-size: large;"><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Suppose I am about to recite a psalm which I know. Before I begin, my expectation is directed towards the whole. But when I have begun, the verses from it which I take into the past become the object of my memory. The life of this act of mine is stretched two ways, into my memory because of the words I have already said and into my expectation because of those which I am about to say. But my attention is on what is present: by that the future is transferred to become the past. As the action advances further and further, the shorter the expectation and the longer the memory, until all expectation is consumed, the entire action is finished, and it has passed into the memory. What occurs in the psalm as a whole occurs in its particular pieces and its individual syllables. The same is true of a longer action in which perhaps that psalm is a part. It is also valid of the entire life of an individual person, where all actions are parts of a whole, and of the total history of ‘the sons of men’ (Ps. 30: 20) where all human lives are but parts.</span></span> </span></p></div></blockquote><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;"><span style="font-family: arial; font-size: large;"><br /></span></div><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">So far as I know, Pedro Costa is the only one who has known how to gather, with patience, dedication, and a form––which is that of the attention––, the memories, the stories, the songs, in sum, the story of these children of men. These letters reach us. The memory of these human lives. They reverberate like an unquenchable fire.</span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></p><div style="text-align: left;"><span style="font-family: arial; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><div style="text-align: center;"><span style="font-family: arial; font-size: large;"><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><a href="." style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img alt="" data-original-height="375" data-original-width="359" height="276" src="https://blogger.googleusercontent.com/img/a/AVvXsEiqBFNd0hl4qUgLqF2JqvJVmGFq7ncOK53PdSrhKX0vuThQVywdYZOIEx9z29oBVU0PdFrGO9nuO1mQPZAJ6yOYhJNm0Zdr3MPzBIboAUFGimhHnfsBZFVM6p319EQWCMw0O8D_U9cIgxI280Vmczg0R413dzA9Mi2kjGhwzhpNy249RlVR6wtp=w265-h276" width="265" /></span></a></div><span style="font-family: arial;"><br /><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: large;"><br /></span></div><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: right;"><span style="font-size: large;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial; text-align: left;">Translated by Andy Rector and Tag Gallagher</span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: right;"><span style="font-family: arial; font-size: large;"><a href="https://ideliridelgiorno.com/2023/08/30/insegnare-la-simmetria/" style="text-align: left; white-space: pre-wrap;" target="_blank">INSEGNARE LA SIMMETRIA</a><span face="Arial, sans-serif" style="text-align: left; white-space: pre-wrap;"> di Rinaldo Censi</span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: right;"><span face="Arial, sans-serif" style="text-align: left; white-space: pre-wrap;"><span style="font-family: arial; font-size: large;">with deep thanks to Rinaldo and Tag...</span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: right;"><span face="Arial, sans-serif" style="text-align: left; white-space: pre-wrap;"><span style="font-family: arial; font-size: large;"><br /></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: right;"><span face="Arial, sans-serif" style="text-align: left; white-space: pre-wrap;"><span style="font-family: arial; font-size: large;"><br /></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: right;"><span face="Arial, sans-serif" style="text-align: left; white-space: pre-wrap;"><span style="font-family: arial; font-size: large;"><br /></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: right;"><span face="Arial, sans-serif" style="text-align: left; white-space: pre-wrap;"><span style="font-family: arial; font-size: large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgv54EMJLiS3LobmsCFzxyjNzU51ghNPUMiYTRzqLIuw2sEDyqntpLSGRY-ut6_RlsaZSgf-xkFl570ZCq43hYW33oNva2e-IlUrAd9GVT6I5dpudxKHKdk4Nth8gMA6iFZ1ceK3ZFs7D83gNo2z1z0KyIgi85fTLuGQnGxbkkLN6B6jykqSui8" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1480" height="292" src="https://blogger.googleusercontent.com/img/a/AVvXsEgv54EMJLiS3LobmsCFzxyjNzU51ghNPUMiYTRzqLIuw2sEDyqntpLSGRY-ut6_RlsaZSgf-xkFl570ZCq43hYW33oNva2e-IlUrAd9GVT6I5dpudxKHKdk4Nth8gMA6iFZ1ceK3ZFs7D83gNo2z1z0KyIgi85fTLuGQnGxbkkLN6B6jykqSui8=w400-h292" width="400" /></a></span></div><span style="font-family: arial; font-size: large;"><br /><br /></span><p></p><div style="text-align: left;"><span style="font-family: arial; font-size: large;"><br /></span></div><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i>Bibliography</i> </span></span></p><div style="text-align: left;"><span style="font-family: arial; font-size: large;"><br /></span></div><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Derek Walcott </span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial; font-size: large;"><span face="Arial, sans-serif" style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">What the Twilight Says</span><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Farrar, Straus, and Giroux 1998</span></span></p><div style="text-align: left;"><span style="font-family: arial; font-size: large;"><br /></span></div><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Augustine</span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: large;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i>Confessions </i>(38). </span></span></p><span style="font-size: large;"><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Trans. Henry Chadwick. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Oxford World’s Classics, Oxford University Press 1991.</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">*</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><br /></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span face="Arial, sans-serif" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-3820674969581920552023-05-01T10:06:00.005-07:002024-02-09T18:31:42.579-08:00<div><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;">MAY DAY</span></div><div class="separator" style="clear: both; font-size: large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjhYpGvqQvn4RMLqLsiUmTGYz3AjB6DHZ0OzJUS2ij1ABvqi9VpbFpv_og9i0B3y1buZbuHCmZ5w68XEkzcVqm2JDAJ6QxpUr-eHGcwvio9Hsguy7end1f8epfW8VWcg1GBxUvOtK-um22Ljgal4lkXAEHNe5T1WEnuxOpOVhpfJfF1CkcUWg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="400" data-original-width="552" height="328" src="https://blogger.googleusercontent.com/img/a/AVvXsEjhYpGvqQvn4RMLqLsiUmTGYz3AjB6DHZ0OzJUS2ij1ABvqi9VpbFpv_og9i0B3y1buZbuHCmZ5w68XEkzcVqm2JDAJ6QxpUr-eHGcwvio9Hsguy7end1f8epfW8VWcg1GBxUvOtK-um22Ljgal4lkXAEHNe5T1WEnuxOpOVhpfJfF1CkcUWg=w452-h328" width="452" /></a></div><br /><br /></div><div class="separator" style="clear: both; font-size: large; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><br /></div><br /></div></div></div></div></div></div></span></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><span style="font-family: arial; font-size: medium;">GASQUET–– A method?</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">CÉZANNE–– Mine, and I've never had a different one, is hatred of the imaginative. My method, my code is realism. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">The immensity, the torrent of the world in a tiny inch of material. Do you think that's impossible?</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">The colorful perpetuity of blood.</span><div> </div><div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">It is the evening of the world.</span> </div></div><div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div></div><div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Painting, like everything, is vanishing.</span></div></div></blockquote><div><span style="font-family: arial;"><div style="font-size: large;"><br /></div><div><span style="font-family: arial; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: arial; font-size: large;">*</span></div><div style="font-size: large;"><span style="font-family: arial; font-size: medium;"><br /></span></div><br /><span style="font-size: medium;"></span></span><div><span style="font-family: arial; font-size: large;">Unpublished 1975 <span>Interview with </span></span></div><div><span style="font-family: arial; font-size: large;"><span>Jean-Marie Straub and Danièle Huillet<br />by John Hughes and Bill Krohn</span></span></div><div><div><br /></div></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><div><span style="font-family: arial;"><span style="font-size: large;"><br /></span></span></div></div><div><div><span style="font-family: arial;"><span style="font-size: medium;"><i>This interview was conducted in New York on September 26, 1975, and found among Bill Krohn's papers more recently. It has survived only as an incomplete, tattered typescript in questionable order. </i></span></span></div></div><div><div><span style="font-family: arial;"><span style="font-size: medium;"><i><br /></i></span></span></div></div><div><div><span style="font-family: arial;"><span style="font-size: medium;"><i>Due to the state of the typescript, I'd held off publishing it here until now. I've done my best to pull it together, keeping the oddities in brackets.</i></span></span></div></div><div><div><i style="font-family: arial;"><span style="font-size: medium;"><br /></span></i></div></div><div><div><i style="font-family: arial;"><span style="font-size: medium;">The interview was conducted mostly in French though the typescript is a mix of transcribed French (now translated below) and English.</span></i></div></div><div><div><span style="font-family: arial;"><span style="font-size: medium;"><i><br /></i></span></span></div></div><div><div><span style="font-family: arial;"><span style="font-size: medium;"><i>The interviewers are critics John Hughes and Bill Krohn (their joint 1977 interview with <a href="https://kinoslang.blogspot.com/2014/03/interview-with-luc-moullet-by-john.html" target="_blank">Luc Moullet</a> was also published on Kino Slang, with a note on Hughes). There were certainly one or two other interlocutors in the room, sadly unidentified.</i></span></span></div></div></blockquote><div><div><span style="font-family: arial;"><span style="font-size: medium;"><i><br /></i></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><i><br /></i></span></span></div><div style="text-align: right;"><span style="font-family: arial;"><span style="font-size: medium;"><i>––A.R.</i></span></span></div><div style="text-align: right;"><span style="font-family: arial;"><span style="font-size: medium;"><i><br /></i></span></span></div><div style="text-align: right;"><span style="font-family: arial;"><span style="font-size: medium;"><i><br /></i></span></span></div><div style="text-align: center;"><br /></div><div style="text-align: right;"><span style="font-family: arial;"><span style="font-size: medium;"><i><br /></i></span></span></div><div style="text-align: right;"><span style="font-family: arial;"><span style="font-size: medium;"><i> </i></span></span></div><div style="text-align: right;"><br /></div><div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg-MJ7xxsPzjRKXIh82gRv2yFPgStuyOvmy6QCwBLw7FJVx0Mz100e-AM1mQ0nKZ61ScSwKY8ZA6ZCb8Iln_eySay8-Vbgs60dfaK2vSQFcsEvmngTLhs65jV70fmA0B57LSaDxqPf1v9tXAGlH2RUdQUg3n80DB-z9o85WcJ2O4uHu4wUA0g" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="834" data-original-width="793" height="678" src="https://blogger.googleusercontent.com/img/a/AVvXsEg-MJ7xxsPzjRKXIh82gRv2yFPgStuyOvmy6QCwBLw7FJVx0Mz100e-AM1mQ0nKZ61ScSwKY8ZA6ZCb8Iln_eySay8-Vbgs60dfaK2vSQFcsEvmngTLhs65jV70fmA0B57LSaDxqPf1v9tXAGlH2RUdQUg3n80DB-z9o85WcJ2O4uHu4wUA0g=w644-h678" width="644" /></a></div><br /><br /></div><br /><br /></div><span style="font-family: arial;"><span style="font-size: medium;"><br /><b>J.H./B.K.</b>: Have you seen many American films?<br /><br /></span></span><div><span style="font-family: arial; font-size: medium;"><span><b>HUILLET</b>: No, in Germany and Italy they're all dubbed.<br /></span><b><br /></b></span><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: Not many since '58. Even in the provinces in France, all the films are dubbed. Between 1951 and '54 I would hitchhike to Paris, 300 km, for two or three days, eating sandwiches and sleeping at friends' apartments. Then between '54 and '58 I was in Paris, and I could, but since 1958, very little.</span></span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span></span></div><div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><span style="font-family: arial; font-size: medium;">[<i>First trip to U.S.. </i></span><i> </i></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><i><span style="font-family: arial; font-size: medium;">Stuff about embassy. </span> </i></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><i><span style="font-family: arial; font-size: medium;">Always in ghettos.</span> </i></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><span style="font-family: arial; font-size: medium;"><i>30,000 francs for...</i>]</span></blockquote><div><div></div></div><span style="font-family: arial; font-size: medium;"><span></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: You like Ford a lot... <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: Yes, more and more. <br /><br /><b>HUILLET</b>: THE SEARCHERS is a poetic film.<br /></span></span><span style="font-family: arial; font-size: large;"></span></div></div></div><div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: We want to present you in terms of American Cinema. <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>HUILLET</b>: He really loves THE SUN SHINES BRIGHT. <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: People here think Ford is a fascist, I think he's objective. <br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: Yes. Exactly. He is more than objective. For me, Ford is a Brechtian filmmaker. With an ideology opposite of Brecht's, he does a Brechtian work. He makes films much more Brechtian than [illegible]. We just saw the episode in HOW THE WEST WAS WON, which is magnificent, about <a href="https://kinoslang.blogspot.com/2011/09/say-mr.html" target="_blank">the Civil War</a>. <br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: The battle at the end is both the thing and a parody of the thing, a subversion of the genre. In any case, I think you're just about the only classical filmmaker, or nearly so, who's ever existed.</span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span><b>STRAUB</b><span>: No. But maybe that's true of MOSES AND AARON (1975), in a sense, but... <br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>HUILLET</b>: How do you mean that? <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: But in the Bach film... <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB:</b><span> Sure, but that's logical, it was the first project... <br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: On the one hand there are expressionist films––like Ford's, not the last, but nearly all of his films––but yours is a Marxian cinema and for me it's a cinema that is classical, analytical, of particles, of relationships, of objectivity. Yes?<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: Yes.<br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>HUILLET</b>: That's a funny conception of the word classic, and why I asked you what you meant. <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: In Europe people say classic and mean Ford.<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>HUILLET</b>: Yes, exactly.<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: I mean it in the Renaissance sense, Raphael as opposed to Caravaggio.<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: Yes, that's curious, perhaps truer of the Bach film than the later ones, because it was the first project.<br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>HUILLET</b>: He means classical in the historical sense.<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: Yes. MOSES UND ARON is actually a classical film, because it's an American film, and at the same time puts it into question. But it's more difficult apropos of HISTORY LESSONS (1972).</span></span></div><div><span style="font-family: arial; font-size: medium;"><br />Louis Seguin wrote that MOSES UND ARON is classical, Jacobin theatre, in the open air, cut stones, not classical in the University of Paris sense, but in the after the Revolution sense. <br /><br /></span></div><div><b style="font-family: arial; font-size: large;">J.H./B.K.</b><span style="font-family: arial; font-size: medium;"><span>: Yours is a cinema of order, everything is presented for order. But also, yours is part expressionist. <br /></span><b><br /></b></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: In what sense, METROPOLIS?<br /><br /></span></span></div><div><b style="font-family: arial; font-size: large;">J.H./B.K.</b><span style="font-family: arial; font-size: medium;"><span>: Yes but also THE SEARCHERS...<br /></span><b><br /></b></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: </span></span></div></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span></span></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span>[<i>Lang, Metropolis, rejected film, shitty, but important;</i></span></span><i> </i></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div><div style="text-align: left;"><i><span style="font-family: arial; font-size: medium;"><span>stuff about brain and heart, reconciliation of labor and capital.</span></span> </i></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span><i>"But there's something there which runs through Schoenberg and us."</i>]</span></span></div></div></blockquote><div><div><span style="font-family: arial; font-size: medium;"></span><span style="font-family: arial; font-size: medium;"><span><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: There's something very charged in your films... Rivette said HISTORY LESSONS is a very exuberant film.<br /><b><br /></b></span><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b>: I'm glad to hear that because I think HISTORY LESSONS is my best film. In fact it's the film that interests me most now. Because it's the most dialectic. And then it's not blocks, 1, 2, 3, thesis, antithesis.</span><div><span style="font-family: arial;"><span style="font-size: medium;"><span><br /></span></span><span style="font-size: large;">INTRODUCTION TO ARNOLD SCHOENBERG'S "ACCOMPANIMENT TO A CINEMATOGRAPHIC SCENE" (1973),</span><span style="font-size: medium;"><span> it's very nice, very necessary, I'm not saying I no longer agree with it, but I think it's a bit terroristic, not dialectic. It's dialectical at the level of movement.</span><span> </span></span></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">HISTORY LESSONS is a film by us which is dialectical at every second. It's a story of an anger that rises, a coming to consciousness of that young guy.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: Rome is very contradictory.<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>HUILLET</b>: Rome, Italy, teaches you many things. It's a land where strata still exist. <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: And even in the countryside where there aren't any Romans, or in the villages, not just because of the Romans.</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>J.H./B.K.</b>: I want to show that Straub = Ford, and Ford = Straub a bit.<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: I'm very flattered. Not ideologically, but at the level of work...<br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: With Renoir we don't see the bricks, defined, clear, precise, but in Ford and Straub there are always these blocks.<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: And it's from that that your idea of classic comes? What about Mizoguchi? Because he's... that's Ford plus Straub, so to speak, and to be a bit pretentious.<br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: You don't want to compare yourself to Mizoguchi?<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: No, not at all. He's a great man, and I'm just a little guy. In any case it's very different because he's of a different generation, which is finished; one can no longer make films within the system like he did, it's impossible. When young people try to do that today it's catastrophic, an ideological catastrophe, even an artisanal catastrophe. But Mizoguchi could because his films worked commercially, not enormous successes, but played quite well. Some guy told me that now they don't play well anymore. But in their time they did. <br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: And Renoir?<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: Renoir never plays well, even in France, it's a catastrophe, with the exception of LA GRANDE ILLUSION.<br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: And he could never understand it, he wanted to be popular.<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: Yes.<br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><span><b>HUILLET</b>: LA CHIENNE here (at Lincoln Center, NYFF) yesterday</span><span> </span><span>was terrible. The reaction was completely against the film. Except that now that Renoir is dying, he's respected, one is obliged to see him. People admire him because he's a museum piece, but nonetheless the reaction was against the characters, as it was at the time the film was made, except at the time it was twice as bad.</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b>: And that's nothing against the Lincoln Center audiences or American audience, because we saw LA BÊTE HUMAINE at the Cinémathèque française, ten or 15 years ago in Paris, and then this Spring at Cannes, and it was just the same, we saw people coming out snickering, especially against Renoir's character, Renoir's acting. And then all the really real parts between Gabin and the rest. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">But the good thing about Renoir was that every time out he tried to do something different. CORDELIER was completely different.</span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>HUILLET</b>: Renoir knew what you were talking about. He said... in Paris there's a large cinema, the Gaumont Palace, with 6000 seats, and that people think the cinema is made for 6000 persons...</span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span><span><b>STRAUB</b></span><span>: No, he said, no it was made for 3 among those 6000 people. And that was at the time of THE RIVER, in an interview with Truffaut, Rivette and company.</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>J.H./B.K.</b>: [<i>Question about "camera across the clouds" in MOSES AND AARON</i>]</span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span><span><b>STRAUB</b></span><span>: Yes it's a confrontation. All that Moses imagines and all that the crowd and people imagine, the column of fire, the cloud column, all of a sudden. One perceives that it's no longer poetry, it's reality, the poetry which comes from reality; it's at the same time much better, and very frustrating. It's much less and much more.<br /><br />It's not a scene that we planned. We had planned to have Moses in the shot until the end. And to make a cut and to see him falling onto his knees. But that came much later, not during shooting, but just a few weeks before. We intended to cut. But while shooting it was very amusing, he had pain in his eyes, because the cameraman had a reflector shining in his eyes. He was crying. We cut at the moment we saw a tear. Then when we were editing it was very problematic because I wanted to keep the tear and the clouds, but I had to cut the tear. And so I put in the cloud in order to cut, which was conscious. <br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: [<i>Question about mysticism</i>]<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><span><b>STRAUB</b></span><span>: In what sense?<br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: [<i>Objective/mystic, Plotinian.</i>]</span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span><span><b>STRAUB</b></span><span>: There was an old guy who was a theology teacher at Florence and also a real Marxist––I'm not a real Marxist because it would take ten years of study, to know what Marxism is––I'd like to know what he says.<br /><br />Mysticism interests me because it's something much more true and important than psychology. Let's say that mysticism interests me, as Peguy says, I'm not pious about God, and I think that religious sentiment is opposed to mysticism. Religious sentiment is an invention of the bourgeoisie, mysticism is something else.</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>J.H./B.K.</b>: Does mysticism have something to do, for example, with attention, because your films demand an almost monastic effort of attention by the spectator: wait, look, listen. Is that what mysticism is for you?<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><span><b>STRAUB</b></span><span>: No.<br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><span><b>HUILLET</b>: That effort is only a question of patience.<br /></span><span><b><br /></b></span></span></div><div><span style="font-family: arial; font-size: medium;"><span><b>STRAUB</b></span><span>: I hope it happens. And I think that if a revolution comes one day––if there's a revolution it won't be us who'll make it, nor our descendants, but a class to whom we do not belong––but I think it will only be possible when people know how to look and listen. Yes, in that sense, that's what we want to do in our films, and then, perhaps in the sense that there's a phrase by Rosa Luxemburg which touched me; she said, the fate of an insect, in the middle of a life and death struggle, the fate of an insect is at least as important as the future of the revolution. I think we must arrive at that, if it doesn't happen... [<i>Huillet says something in Straub's ear.</i>] She is accusing me of surrender: Rosa didn't say "at least."</span></span></div><div><span style="font-family: arial; font-size: medium;"><br />It's necessary, if not, we risk not taking a step forward, or if forward, we rapidly risk transforming that step into a defeat, into an illusion––but in any case we have to begin.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial;"><div class="separator" style="clear: both; font-size: large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg2i_aFBjqOgH9mDDbqHZJIJdeGsztx53aSP1xVg7PUJg8njMf-sX7EDyEDTEvH_y4ZUKpI3oMOM5kJxLVDRLSABM8n1wBOUyxNm01Ar-YdLGltHNeFNtu4ODJyk0T354D-aw8qolKFX7uYg22ts8O8Le3AzLG9nFgHaeWioZuJ5SOOntgCiw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1620" data-original-width="1258" height="618" src="https://blogger.googleusercontent.com/img/a/AVvXsEg2i_aFBjqOgH9mDDbqHZJIJdeGsztx53aSP1xVg7PUJg8njMf-sX7EDyEDTEvH_y4ZUKpI3oMOM5kJxLVDRLSABM8n1wBOUyxNm01Ar-YdLGltHNeFNtu4ODJyk0T354D-aw8qolKFX7uYg22ts8O8Le3AzLG9nFgHaeWioZuJ5SOOntgCiw=w479-h618" width="479" /></a></div><div style="text-align: right;"><span style="font-size: x-small;"><i>Huillet with soundman Louis Hochet </i></span></div><div style="text-align: right;"><span style="font-size: x-small;"><i>on MOSES AND AARON</i></span></div><br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: Why did you choose MOSES AND AARON? How was this choice different from your other films?</span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span><span><b>STRAUB</b></span><span>: I wouldn't choose to do it today. If I went into an opera where they were doing <i>Moses und Aron</i>, I wouldn't do it.<br /><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: But why this subject of the Jews?<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><span><b>STRAUB</b></span><span>: I've been interested in the Jews since I was very small because I saw that there was anti-Semitism in my family, a petit bourgeois family. Anti-Semitism began in France, it was not the Germans or Austrians who invented it, it was the Parisians. No, it's true. The theory began in Paris, it went to Vienna, became popular in Vienna, and passed from there to Germany. Modern anti-Semitism, which became that of Naziism, not the previous anti-Semitism, I saw that in my family. I heard all the time phrases like, "Ah yes, Monsieur Salamande is a good one because he has a big store." I heard stuff like that when I was little. My parents were anti-Semitic like the Nazis, there were traces there, even for people who thought themselves anti-Nazi. It's an old story with me, but it took ten years for it to arrive in my work.</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>J.H./B.K.</b>: But what does this film have to say about the current political situation in Israel?</span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>STRAUB</b>: It says that the very idea of a Jewish state, for me, is an absurdity. And I think also, partly, for Schoenberg. I think maybe for Schoenberg, but for me it's clear. My reading of Schoenberg is that Moses's idea is really that a people should never establish itself. <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>J.H./B.K.</b>: But how do you situate yourself? The Jewish state exists now and we have to manage somehow.<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: Absolutely, I agree. It's a utopia. But that's the story of our next film, that's what we're going to clarify with the aid of Franco Fortini whose texts we'll use in our next film. There's no title yet, but it's from a little book called Carnets de Sinai. '66 or '67.</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>J.H./B.K.</b>: What's your position now?<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b><span>: It's quite simple. Israel must face reality, she must correct herself. We refused to step foot in Israel. We went, just the two of us, to find the two panoramic shots along the Nile (for MOSES AND AARON), which were shot on 16mm and blown up to 35mm, then we went back three weeks later, we were there only ten days with the cameraman to shoot, and between these two trips we had dozens of chances to enter Israel––you know there's no connection with Exodus––but we refused to go for political reasons, to step foot in Israel. </span></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">My position is even caricatural, and bad in that sense. I think that Israel is uniquely the product, first, of the bad conscience of the West, the social democracies, the bourgeois democracies in Europe, and secondly that it's something that would not exist were it not held up by American imperialism, it would have long ago been swept away. Now, starting from there, it's necessary to know, to perceive, now, that American imperialism is in the process of abandoning the state of Israel, more or less. And then, there is the problem that, once a state has been set up, you can't say we'll go back to nothing, that the state of Israel be swept away, that it doesn't exist––that would be monstrous. So there's a problem which our position, such as it is, does not cover: the problem exceeds the limits of our position.</span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>HUILLET</b>: But it's true that if the Jews had been more distrustful of this idea of the state of Israel, if they had not trusted in a state founded on force, if they had sought an understanding with the Arabs who were there, it would have been in their interest, because one day it will be in the interests of the Americans to let Israel fall. Now it might be too late.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgr2DTJaax-8EnxOhpJNjCI8xAU5OzgXvgFvYpxMXDA2hqdsvKip1MwXsnhg1gR288WONasqt5PIzCKpQbjSTCZTOo2ufvWPLxmpPYuI1jvXrimqRuwwO4xhfycyEGC_yiG8S0Mf_eQjDlnQjmvBGMHEMqBBZi4Ckopgm31N-fWG3bVemGseg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="419" data-original-width="544" height="416" src="https://blogger.googleusercontent.com/img/a/AVvXsEgr2DTJaax-8EnxOhpJNjCI8xAU5OzgXvgFvYpxMXDA2hqdsvKip1MwXsnhg1gR288WONasqt5PIzCKpQbjSTCZTOo2ufvWPLxmpPYuI1jvXrimqRuwwO4xhfycyEGC_yiG8S0Mf_eQjDlnQjmvBGMHEMqBBZi4Ckopgm31N-fWG3bVemGseg=w540-h416" width="540" /></a></div><br /></span><div><span style="font-family: arial; font-size: medium;"><br /><b>J.H./B.K.</b>: Did you really teach grammar to children?</span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span><b>STRAUB</b><span>: No, no, a little French, grammar, spelling, and writing, to Algerians who couldn't read or write, even in their own language.</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>J.H./B.K.</b>: [<i>Question regarding if teaching has influenced the Straubs' filmmaking</i>]</span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span><b>STRAUB</b><span>: It's a method, sure, it had to have had an influence. I haven't analyzed it, but there must be something there. And not just the result of making a film, but the relationship with the spectator. That's what we argue about, violently, over a single shot, all the time. Or else we agree, and go on to something else. Or else we can't agree at all, and get so violent that we have to wait three days, two weeks until we can discuss the shot again. It's not just for the pleasure of the dialogue, it's with respect to a third pole, which is the spectator, he who is seated in front of that shot, what can he see, how will he react, what will his response be to that, what is the danger of the choice we are making, the risk, or the absence of risk, what will he understand, what will he not understand if we take that out? If we take this out, he won't understand that anymore, but he'll understand something more important which will have such and such an effect. All this does imply a teaching relationship with the spectator.</span></span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span></span><b style="font-family: arial; font-size: large;">J.H./B.K.</b><span style="font-family: arial; font-size: medium;"><span>: You address Germany....</span></span></div><div><span style="font-family: arial; font-size: medium;"><span><br /></span><b>STRAUB</b><span>: Yes, in everything except OTHON, and the next film which will be in Italian. I'm not even going to try to get money for it in Germany or France, I'll look for the money in Italy.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;">(...)</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div></div></div></div></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><span>[<i>Here t</i></span></span><i style="font-family: arial;">he typescript is written in summary form and indecipherable short-hand, so can't be transcribed here as anything resembling statements by Straub, Huillet, or the interviewers. </i><span style="font-family: arial;"><i>The discussion is of Schoenberg, his representation of the Moses and Aaron characters, how the he and his opera differ from Straub/Huillet's film and their positions, etc.. </i></span><i style="font-family: arial;"><span>It's very close to the main subject of <a href="https://www.ejumpcut.org/archive/onlinessays/jc12-13folder/moses.int.html" target="_blank">Joel Rogers's interview with Straub/Huillet published a year later in JUMP CUT</a>. ––A.R.</span></i><span style="font-family: arial;">]</span></span></div></blockquote><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;">(...)</span></span></div><div><div><span style="font-family: arial; font-size: medium;"><br />...what's funny about Schoenberg is that he had connections with people living in Israel; he even aided Israelis to get visas to come here. That's very strange. He never said anything for or against the state of Israel, but he was never there.</span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>J.H./B.K.</b>: He is for Moses...<br /><b><br /></b></span></div><div><span style="font-family: arial; font-size: medium;"><b>STRAUB</b>: He identified much more closely with Moses than we do in the film, that's for sure.</span><div><span style="font-family: arial;"><div><b><span style="font-size: medium;"><br /></span></b></div><div><span style="font-size: medium;"><b>J.H./B.K.</b>: You said that MOSES AND AARON is very different from HISTORY LESSONS.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>STRAUB</b>: No, no, I just wanted to say one thing, that Schoenberg really had an idea of a Jewish state, but before MOSES AND AARON. He flirted with the idea, but not in Israel, it was an African <i>histoire</i> with Herzel. He had a theatre piece that he refused to publish. It was published in Italy after his death, and he certainly wouldn't be happy about that.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>J.H./B.K.</b>: What's the difference between MOSES and HISTORY LESSONS? Is MOSES less dialectical?</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>STRAUB</b>: No. It's the work after HISTORY LESSONS, a step forward as a work at the artisanal level, and in the relationships between the characters, the people, the audience, and in the rapport with the audience, but it's a project from '59, the second project after the Bach film, it's even a project before NOT RECONCILED (1965).</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>J.H./B.K.</b>: So you're always running behind your thought.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>STRAUB</b>: Yes, that's true. HISTORY LESSONS is an exception, and another is INTRODUCTION, where I ran ahead of my thought.</span></div><div><b><span style="font-size: medium;"><br /></span></b></div><div><span style="font-size: medium;"><b>J.H./B.K.</b>: So really MOSES AND AARON comes before HISTORY LESSONS.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>STRAUB</b>: Yes, but not at the working level, not the finished film.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>J.H./B.K.</b>: In HISTORY LESSONS, why are these old Roman heads filmed in shot/reverse-shot? Maybe it's not shot/reverse-shot at all, but to simplify there's a lot of shot/reverse-shot with the lawyer, I believe, sticking to to the axis. These are fairly classical procedures of filmic rhetoric. Why these procedures with this comic material, Roman and of the classical period? It seems to me a sort of step forward in classicism, the rhetoric of classicism. For example the young man who is there, I feel he has a very classic function, like the reporter in CITIZEN KANE or Bogey in THE BIG SLEEP.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>STRAUB</b>: Yes, that's for sure. Have you read Brecht's novel? You should read it.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>J.H./B.K.</b>: It doesn't exist in English.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b>STRAUB</b>: It's all there. He goes to find the banker, [illegible] he comes back, that's exactly it.</span></div><div style="font-size: large;"><br /></div><div style="font-size: large;"><br /></div><div><div class="separator" style="clear: both; font-size: large; text-align: center;"><br /></div><div class="separator" style="clear: both; font-size: large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi82Qvqj-7CZg9ggLhOcRErUrFv9IMOQRDGVktzZiIdyc90OWkIVyQVarQ-dYxafpa6RZIan3PbQyTjB--3F-JJm4hxMduMjCSvSkoHrUUZ60nYVcZ8906fYlQFa0Cns7Zs-WkWZ1e-23F6-fL-YvryVgRhByhwB0ESDYn6IQU5PUUltE_y9g" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="850" data-original-width="585" height="739" src="https://blogger.googleusercontent.com/img/a/AVvXsEi82Qvqj-7CZg9ggLhOcRErUrFv9IMOQRDGVktzZiIdyc90OWkIVyQVarQ-dYxafpa6RZIan3PbQyTjB--3F-JJm4hxMduMjCSvSkoHrUUZ60nYVcZ8906fYlQFa0Cns7Zs-WkWZ1e-23F6-fL-YvryVgRhByhwB0ESDYn6IQU5PUUltE_y9g=w508-h739" width="508" /></a></div><div style="text-align: right;"><span style="font-size: x-small;"><br /></span></div><div style="text-align: right;"><span style="font-size: x-small;">Straub with cinematographer Renato Berta on HISTORY LESSONS,</span></div><div style="text-align: right;"><span style="font-size: x-small;">standing in front of the fascist map of the Empire at the time of Caesar's death.</span></div><br /><br /></div></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><b style="font-family: arial; font-size: large;">J.H./B.K.</b><span style="font-family: arial; font-size: medium;">: [<i>About shooting outdoors</i>]</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><div><b>STRAUB</b>: ...we always wanted to shoot MOSES AND AARON totally <i>en plein air</i>, but not for the pleasure of shooting outdoors, because at that time I hadn't yet made a film, so I didn't know I liked shooting movies outdoors like John Ford and the rest, not because I don't like being locked up, but because I wanted a light that came from above, precisely to be able to show afterwards that it's only light. It was conscious. </div><div><br /></div><div>It connects to Schoenberg's idea about perspectives. There's another example of perspective in HISTORY LESSONS: that at first we want to show a character flattened against the ground, isolated, giving the impression that the cinema is two dimensional, even if the image, the frame, is three, like Egyptian bas reliefs, but is projected two-dimensional. But then we discover the scenery and see that this banker lives among the flowers, etc.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh9LsGU60y-iogIVY9oPx2WoSJXPfJBLN7cJACw4R4XY7XYLyE5NfTasqLQtClX7VLdg5Nnu2d6jzLaCziaGbz8fV6rC_c9II70I-eZviUebK9M3hf1nXhmdFrAzbbrd0HbMcH70DnrFjLmyUXt__DgcVTDzwmkVixYV0tNnQeOvO4c-WvHRg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1078" data-original-width="1511" height="347" src="https://blogger.googleusercontent.com/img/a/AVvXsEh9LsGU60y-iogIVY9oPx2WoSJXPfJBLN7cJACw4R4XY7XYLyE5NfTasqLQtClX7VLdg5Nnu2d6jzLaCziaGbz8fV6rC_c9II70I-eZviUebK9M3hf1nXhmdFrAzbbrd0HbMcH70DnrFjLmyUXt__DgcVTDzwmkVixYV0tNnQeOvO4c-WvHRg=w487-h347" width="487" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj1p5wzQ3iMsscWLkWdCGESkoCLg54qfIhCkS7JTv-JGZ76iEvN8H-oqYMnq3wRDZTmY17w1KPPsbsKiaF7tEuAoWAVpbDl1AqMG9t60MKNfJ3h-5JDz40C4td7-Wh-AbH8uOAP2b_ugbFPfODPZaJ2Q_y2jG-Ub5Hnm4yd-x0aGHJ26xuYRw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1079" data-original-width="1509" height="347" src="https://blogger.googleusercontent.com/img/a/AVvXsEj1p5wzQ3iMsscWLkWdCGESkoCLg54qfIhCkS7JTv-JGZ76iEvN8H-oqYMnq3wRDZTmY17w1KPPsbsKiaF7tEuAoWAVpbDl1AqMG9t60MKNfJ3h-5JDz40C4td7-Wh-AbH8uOAP2b_ugbFPfODPZaJ2Q_y2jG-Ub5Hnm4yd-x0aGHJ26xuYRw=w485-h347" width="485" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg30YLOWNhSv-4-_gmyaW7Y3KeJQc1BE9H-0xAQmyNHmABoeXBxPFFtp3tf4BLgB7uSmM7JWFJDzmJXeM_-uMVPC7gVaPAtJFVjATit4ImV8HQ0EGPK0vsWCJuyYceEnK6GOUx_58hT677E5lyiR3iZRawA-QLaQwN5It8PC5eGL_2RFWFhXQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1509" height="346" src="https://blogger.googleusercontent.com/img/a/AVvXsEg30YLOWNhSv-4-_gmyaW7Y3KeJQc1BE9H-0xAQmyNHmABoeXBxPFFtp3tf4BLgB7uSmM7JWFJDzmJXeM_-uMVPC7gVaPAtJFVjATit4ImV8HQ0EGPK0vsWCJuyYceEnK6GOUx_58hT677E5lyiR3iZRawA-QLaQwN5It8PC5eGL_2RFWFhXQ=w483-h346" width="483" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div><b>J.H./B.K.</b>: As the film progresses we have more and more shot/reverse-shots, like with the peasant.</div><div><b><br /></b></div><div><b>HUILLET</b>: No. I wanted to say that the beginning of the film teaches the young man something that is not about the rhetoric of the shot/reverse-shot, as we link a banker's shot to a banker's shot, to a shot of a banker.</div><div><br /></div><div><b>STRAUB</b>: It's like what the police do when you go to the station and have your picture taken, which they did to me once. And that's going back to the police process, it's possible we shouldn't have done it, but we really feel there's another class there.</div><div><br /></div><div><b>J.H./B.K.</b>: These other processes, which perhaps come from German cinema, interest me because I want to know how it works, how you subverted these processes by using them. For example, the young man, these car shots, they're very classic, it's like CITIZEN KANE, it's like THE BIG SLEEP, but when you see Bogey in a car, for example, it doesn't last; these sequences last.</div><div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div><b>STRAUB</b>: You're right, it comes first from the duration. Everyone comes to us afterwards saying why does it last so long, it doesn't make sense, and it only becomes subversion because it lasts so long. It's reality, insofar as when you see people in a car in an American movie, it's always dubbed, even in a movie that isn't generally dubbed. So it's an invasion of the sound universe, an irruption of the sound universe, and moreover the roof of the car is open, and not like an American convertible.</div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhrD9A-FFL6ZPzG7fKktaiSGPgu022GYzbc_O6Qd9OdET9AZIvHop4sSkbCbrdh2g3cF4MsPLyGJA4MPhlswTzI76gmV7Y6a3t_XBKJGixEAHTLXD0TZnii6X_zIe-MHZKmTKGv7KpLzeZLi80Cc-Zv2SL8R3o63qO0rA7EJ9V7EX41mKNzPQ" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="900" data-original-width="1200" height="517" src="https://blogger.googleusercontent.com/img/a/AVvXsEhrD9A-FFL6ZPzG7fKktaiSGPgu022GYzbc_O6Qd9OdET9AZIvHop4sSkbCbrdh2g3cF4MsPLyGJA4MPhlswTzI76gmV7Y6a3t_XBKJGixEAHTLXD0TZnii6X_zIe-MHZKmTKGv7KpLzeZLi80Cc-Zv2SL8R3o63qO0rA7EJ9V7EX41mKNzPQ=w688-h517" width="688" /></a></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div><b><br /></b></div><div><b>J.H./B.K.</b>: Why this duration?</div><div><br /></div><div><b>STRAUB</b>: Simply to obtain this transformation, so that this transformation can take place.</div><div><br /></div><div><b>HUILLET</b>: It's not like in American cinema where you're only interested in the main character, because even in very good American films there's always that aspect, there's always the hero and it's always been about him, but what's telling here is precisely what's outside, and for that to tell us something, it has to have time to exist, to take on its weight, and to change.</div><div><br /></div><div><b>STRAUB</b>: That's it––and then it establishes a really democratic relationship.</div><div><br /></div><div><b>J.H./B.K.</b>: Between you and the hero for example.</div><div><br /></div><div><b>STRAUB</b>: And between the hero, who is invaded by an external reality, and especially between the film and the spectator.</div><div><br /></div><div><b>J.H./B.K.</b>: So it's not the clutch of the film, it's not the thing that connects the sequences of shots, it's that plus another [<i>typescript cut</i>]... The gear-shift is his social practice, the rear-view mirror his conscience...</div><div><br /></div></span><div><span style="font-family: arial; font-size: medium;"><div><b>STRAUB</b>: The rear-view mirror, it's that, plus the film will come back to what we said earlier; he's not only a young man, a student, therefore someone who belongs to the bourgeois class, which is completely politically unconscious; at the beginning (although it's been said about him that he drives very carefully, but anyhow it's not only that) he's also a stranger who arrives, that is to say I believe one must feel he's a German, well not necessarily a German but a foreigner, a tourist who is changing: what makes the film interest me more and more is that for the first time, and only as a spectator in the cinema did I discover this; I saw it again, I experienced it only two months ago while checking a print in the laboratory: it's the first film I've seen where I feel there's a psychological transformation which is not based on psychology. You feel an anger, an awareness that begins, and at the end––in the beginning it's only a glimmer––there's an anger that rises and at the end it bursts, and the water continues to flow.</div><div><br /></div><div>And I don't think there's any other film, maybe there is but I don't know one, as a spectator, where we feel the anger rising like this.</div><div><br /></div><div><b>J.H./B.K.</b>: In the young man or in the spectator?</div><div><br /></div><div><b>STRAUB</b>: Well, precisely one finds the relation in the car. It's the young man as an objective character, and it then becomes the young man as a subjective character, to the extent that hopefully it's also the viewer, who somehow in the end has to stick to the young man more closely than at the beginning.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjGq_xYvr6klG6Mf0Ajvrq6N930RPKSNm9UdF3z3WO-ieA6j24XlgRX7FPpeKKYVDkZc1v6F8zWPqvp_ZIgrCvEpVB4Ss9VUtMInKI7cnfedNlM4rU9axstZq9dOR-AeqxsOac03jEgVhto_VQIM5v4ijAMxvNdjWykSlC5VJaeg62aRJn_GA" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1518" height="471" src="https://blogger.googleusercontent.com/img/a/AVvXsEjGq_xYvr6klG6Mf0Ajvrq6N930RPKSNm9UdF3z3WO-ieA6j24XlgRX7FPpeKKYVDkZc1v6F8zWPqvp_ZIgrCvEpVB4Ss9VUtMInKI7cnfedNlM4rU9axstZq9dOR-AeqxsOac03jEgVhto_VQIM5v4ijAMxvNdjWykSlC5VJaeg62aRJn_GA=w660-h471" width="660" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgPlW0r8aj3UgHugkWpS-lYeZyoKoKi0zEXruTd5X6T831AID-gqsIzD1bf8YsqXO2_Rx92C6viFkQ94l9fnFqLNOomx8tSDFVTwAnNuQQUagdU9ESj75e8e70Z9jJwFUkhQ381t9C-TcxEq_nDFIWIof7_-2YOxwbDdC-1R5G7rqFlwRBPKg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1077" data-original-width="1483" height="483" src="https://blogger.googleusercontent.com/img/a/AVvXsEgPlW0r8aj3UgHugkWpS-lYeZyoKoKi0zEXruTd5X6T831AID-gqsIzD1bf8YsqXO2_Rx92C6viFkQ94l9fnFqLNOomx8tSDFVTwAnNuQQUagdU9ESj75e8e70Z9jJwFUkhQ381t9C-TcxEq_nDFIWIof7_-2YOxwbDdC-1R5G7rqFlwRBPKg=w665-h483" width="665" /></a></div><br /><br /></div><div><br /></div><div><b>J.H./B.K.</b>: It becomes more subjective.</div><div><br /></div><div><b>STRAUB</b>: Yes, because afterwards we see him listening for the first time in the last sequence.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEibEi4SnPrvhOBZfn0zo7DKuqglTycLJl7rzLpakxwxxnUoP5-tTw_2XHNDqC-D14dVAlUWoIInKE6Ed8pSlXhO5QkKyQ2N27QS98QXprIqOH9NzpQP5ok021DMYcdhXXpPU0KWpYcudw5EvWO6cObWKz7o0kHvPppWIY6BvemamWBtBOvLtQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1506" height="337" src="https://blogger.googleusercontent.com/img/a/AVvXsEibEi4SnPrvhOBZfn0zo7DKuqglTycLJl7rzLpakxwxxnUoP5-tTw_2XHNDqC-D14dVAlUWoIInKE6Ed8pSlXhO5QkKyQ2N27QS98QXprIqOH9NzpQP5ok021DMYcdhXXpPU0KWpYcudw5EvWO6cObWKz7o0kHvPppWIY6BvemamWBtBOvLtQ=w471-h337" width="471" /></a></div><br /></div><div><br /></div><div><b>J.H./B.K.</b>: Are these old Romans the fathers of the young man? The presidents of Mt. Rushmore in NORTH BY NORTHWEST, for example, are now said to be castrated fathers. In this film we don't see women except in the streets and when we hear about a marriage of the State, and about Caesar's love and homosexuality.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhb2wktUf4b6Yvm7QRhq-TFGX1YQT_wfAfYfpXdwPghQnOhuRdxqkMW5gE97a_VKO0NtBgudLIs7jU3Ug0rLfrlDsPfvyKET5kbXAaSOsOuAgZ2ebhLiREFHMQMYoqfzGyfzGJ3HvDaQH1YwTVatfzDBvXNA0ivCXDUCf9aFBpVexYXHQwzew" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="720" data-original-width="1280" height="418" src="https://blogger.googleusercontent.com/img/a/AVvXsEhb2wktUf4b6Yvm7QRhq-TFGX1YQT_wfAfYfpXdwPghQnOhuRdxqkMW5gE97a_VKO0NtBgudLIs7jU3Ug0rLfrlDsPfvyKET5kbXAaSOsOuAgZ2ebhLiREFHMQMYoqfzGyfzGJ3HvDaQH1YwTVatfzDBvXNA0ivCXDUCf9aFBpVexYXHQwzew=w743-h418" width="743" /></a></div><br /></div></div></div></div><div><br /></div></span><div><span style="font-family: arial;"><b style="font-size: large;">STRAUB</b><span style="font-size: medium;"><span>: I think there's something like that because when we were filming I felt greatly embarrassed and I understood it only afterwards, already since it was an endless film, and then especially while working with (Günter Peter) Straschek on the letters of Schoenberg–– he's the one who reads the letters of Schoenberg </span><span>(in INTRODUCTION). So</span><span> I became conscious about HISTORY LESSONS while working on the letters of Schoenberg. Suddenly Straschek said "But what do you want?" because he hated these letters, though he admires Schoenberg, but the letters put him in a state of rage... He said to me "But you want me to read this as if it were a letter from my father??" and I said fine, go ahead. And Straschek had the same relationship with Schoenberg that the young man probably has with these Roman ghosts. </span></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><span><div class="separator" style="clear: both; text-align: center;"><br /></div></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">With the peasant, it's not the same. I believe the peasant is the father the young man would've liked to have had, and that he couldn't because of the class struggle. With the peasant, at first he's like a journalist getting the story, and then all of a sudden it changes, he doesn't understand anything anymore, and he's pissed off at the end.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgHrSo1S8pvK_Jfhq_VpEmf013KxvHK8p_G10MiNserV_TY6wLsarFFjpg_L-thLpnDKYQ9-oCS-uXgPl3Gq0_j3LsX6IgTViiMkZOB1PfzLRqaaTkZLnw6PN3mjhFjxNnHiUSvT_a9sK3eZtgGIRFCyTxdzgs72IL20mRa4CyQeQXPJxFGnQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1078" data-original-width="1511" height="462" src="https://blogger.googleusercontent.com/img/a/AVvXsEgHrSo1S8pvK_Jfhq_VpEmf013KxvHK8p_G10MiNserV_TY6wLsarFFjpg_L-thLpnDKYQ9-oCS-uXgPl3Gq0_j3LsX6IgTViiMkZOB1PfzLRqaaTkZLnw6PN3mjhFjxNnHiUSvT_a9sK3eZtgGIRFCyTxdzgs72IL20mRa4CyQeQXPJxFGnQ=w648-h462" width="648" /></a></div><br /></span></span></div><span style="font-family: arial;"><div style="font-size: large;"><br /></div><div style="font-size: large;"><b>J.H./B.K.</b>: In the second part of INTRODUCTION you stage a Marxist speech for the first time in one of your films, a text by Brecht, and a woman starts it. The irruption of Danièle in this film is dramatic because of the absence of women up to this point. Why this Marxist discourse after the long detour of the other films? Why from a woman's mouth, and one with a cat? Why is there a cat?</div><div style="font-size: large;"><br /></div><div style="font-size: large;"><br /></div><div style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhLnXjm0Gfb5Y0-0e86F7CL2dtYgIhAT_m2ujgzV1yDOZgbq8P8PkfIoJPiaRzEcctmH4OU5s87il89v9yo9bo6U6-l-T6yN2LJ0awVlyUBRR_WvKboXr0ngsSrH7pkODQYkc5yKIc0PnOPfoncR-r6UM5kSlYt7LBuvCSr_q5n5L9zxRe_rg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="798" data-original-width="1074" height="340" src="https://blogger.googleusercontent.com/img/a/AVvXsEhLnXjm0Gfb5Y0-0e86F7CL2dtYgIhAT_m2ujgzV1yDOZgbq8P8PkfIoJPiaRzEcctmH4OU5s87il89v9yo9bo6U6-l-T6yN2LJ0awVlyUBRR_WvKboXr0ngsSrH7pkODQYkc5yKIc0PnOPfoncR-r6UM5kSlYt7LBuvCSr_q5n5L9zxRe_rg=w457-h340" width="457" /></a></div><div style="font-size: large;"><br /></div><div style="font-size: large;"><br /></div><div style="font-size: large;"><b>STRAUB</b>: There's an erotic connection there, I believe; there's also a relationship with the cat. And because I think the conscience of humanity is feminine and there's always a class relationship with women. Women as women, if they refuse to integrate––to be more man than men––belong to the proletariat on the one hand, and on the other hand––we don't need to make an MLF (Women's Liberation Movement) speech––a woman is more of a terrorist, I believe. She (Danièle) is much more of a terrorist than me. </div><div style="font-size: large;"><i><br /></i></div><div style="font-size: large;"><i>Le chat-bon</i>, that's a story from our private life: we found a sick cat in the street; this is the one who had kittens twice; the first time four, and two died at birth, then again four more...</div><div><div style="text-align: right;"><br /></div></div><div style="font-size: large;"><b>J.H./B.K.</b>: I thought it was a reference to Marx who had eight cats.</div><div style="font-size: large;"><br /></div><div style="font-size: large;"><b>STRAUB</b>: That I didn't know. It was a conscious reference to Lenin, because we've seen many photos of Lenin with cats on his back.</div><div style="font-size: large;"><br /></div><div style="font-size: large;"><b>J.H./B.K.</b>: Perhaps it's because dogs are like slaves.</div><div style="font-size: large;"><br /></div><div style="font-size: large;"><b>STRAUB</b>: That's what's terrible... when we see the relationship between dogs and men we have the feeling that dogs are more attached to the boss. Then there's simply the realization of something I discovered: that the day the proletariat has taken power, I really believe that we'll have to take care of animals, because there's a relationship with animals, a relationship that really goes beyond the worst moments of class struggle. It's amazing what has happened in the history of mankind to animals! That's something very new for me because I was raised in a humanistic way, so it's the opposite, my grandfather despised animals, etc.; so for me it's a new and recent awareness.</div></span><div><span style="font-family: arial; font-size: medium;"><div><br /></div><div><b>J.H./B.K.</b>: You don't kill animals to eat.</div><div><br /></div><div><b>STRAUB</b>: No exactly.</div><div><br /></div><div><b>J.H./B.K.</b>: Let's talk about enunciation. The<i> Cahiers du cinéma </i>speaks of enunciation these days. You've made films, let's say Marxist films, where you don't pronounce a Marxist discourse (that is, before the film on Schoenberg). Do you believe that the image can state something?</div><div><br /></div><div><b>STRAUB</b>: No. I might change, or be wrong, maybe it's a position like that, but for now, I don't think so.</div><div><br /></div><div><b>J.H./B.K.</b>: You believe it will come to pass that images will have this power?</div><div><br /></div><div><b>STRAUB</b>: Yes, if society changes perhaps, but not before that.</div><div><br /></div><div><b>J.H./B.K.</b>: Why can't images....</div><div><br /></div><div><b>STRAUB</b>: I don't know, to be honest. I have to say that I don't know, because first of all I'm not sure they don't.</div><div><br /></div></span></div><span><div style="font-size: large;"><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: You have to read the images, you have to see people in LES YEUX NE VEULENT PAS EN TOUT TEMPS SE FERMER OU PEUT-ÊTRE QU’UN JOUR ROME SE PERMETTRA DE CHOISIR À SON TOUR (OTHON) for what they are, like you see people in THE SUN SHINES BRIGHT (1953, John Ford) for what they are.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><b>STRAUB</b>: Watch out. THE SUN SHINES BRIGHT is already full of relationships, it's already more than the images, there are already relationships we can't judge anymore. We can doubt my negative answer but...</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: Because what binds the shots is perhaps the enunciation.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><b>STRAUB</b>: Yes, I think so. I think that if there's a film of ours where [<i>typescript muddled</i>] passes between the shots, it's in OTHON.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: Do you have reverse shots in OTHON?</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><b>STRAUB</b>: It's not really shot/reverse-shot.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: You've said you don't have shot/reverse-shots, only cuts; the shot/reverse-shots in HISTORY LESSONS are not true shot/reverse-shots. Why?</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><b>STRAUB</b>: Because shot/reverse-shots are a photographic process, especially when it involves––and even great filmmakers like Fritz Lang can make mistakes––making the other character's neck out-of-focus to show a space or lock the image, and I can't stand that, because it transforms the out-of-focus person––it transforms them into decor––and although the films we make struggle against the difference between the actor and the setting, there is a unity that we hope enters between the setting and the man, or the character, there's also a contradiction that intervenes, a difference, although our films are among those where the character is most linked to the land and the setting. So there are rarely out-of-focus shots, and we are very wary of out-of-focus shots too. We tried one in MOSES AND AARON––it interested me to do it, now it's done with––but even there it's not the same: there is a character and there is the earth [<i>Straub shows photo of MOSES AND AARON in the </i>Cahiers<i>.</i>] It's before the blood I believe, the blur is justified because we then see the blood flowing.</span></div><div style="font-size: large;"><span style="font-family: arial;"><b><br /></b></span></div><div style="font-size: large;"><span style="font-family: arial;"><b>HUILLET</b>: We have a choice when the character leaves the shot, we would have to change the focus to make the background sharp.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><b>STRAUB</b>: But there we couldn't because we chose a lens such that we could no longer have the shot in-focus, and which was essential at the starting point and at the point of arrival; we couldn't do it with another lens. Due to the fact that there's blood afterwards, I think it's justified.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi5FchKplXKDfevXsB6RyYfD_zi_rZbbXRspLV8rQcCJkXnZaR1U3EH5Qv3xst04P1Q7q84YIY-SiCPt5YKuIR1xWr2iquGFdbMB-grnAAfsovUB-ZtJ34zp_ZtaSGsdPnEe9Nfp1LCpdCOnaVsukFAG1y0Uy1Gs7rA2n4wt76l7F3nqk__Eg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="758" height="286" src="https://blogger.googleusercontent.com/img/a/AVvXsEi5FchKplXKDfevXsB6RyYfD_zi_rZbbXRspLV8rQcCJkXnZaR1U3EH5Qv3xst04P1Q7q84YIY-SiCPt5YKuIR1xWr2iquGFdbMB-grnAAfsovUB-ZtJ34zp_ZtaSGsdPnEe9Nfp1LCpdCOnaVsukFAG1y0Uy1Gs7rA2n4wt76l7F3nqk__Eg=w376-h286" width="376" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjb32zfwxbVXfLruT1TtnvF_mYYVfXKmggnvfogQb0XOQdqFQ1L5a_wEk9qgIylKNWxaTLM3BywR5UCCYuWsG3RPYck45O57K07UiTWkIujf0lr59cAM6c_5jNKLUJHrFRo7zzJLCjb4ZADI0almpTNAs_WwOA2nJSvO4IoK3W-EOz8CB3kGg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="758" height="284" src="https://blogger.googleusercontent.com/img/a/AVvXsEjb32zfwxbVXfLruT1TtnvF_mYYVfXKmggnvfogQb0XOQdqFQ1L5a_wEk9qgIylKNWxaTLM3BywR5UCCYuWsG3RPYck45O57K07UiTWkIujf0lr59cAM6c_5jNKLUJHrFRo7zzJLCjb4ZADI0almpTNAs_WwOA2nJSvO4IoK3W-EOz8CB3kGg=w374-h284" width="374" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhoNTNQjBui5qgGJPr4NUN-hbzkZkAigr6E8kFmH32M35Erdse4UYBJAx-LJ4l7TJ8rdq29ZDQ6gMlg3NnI3GwPaZ-S6GMa_RrEby4HCPw6jppMhxRZnzLHcopC3VuYuT31Mfehd79OjQ4G_9Z3yFGe2-WUhg7GcC7VinExl_yFXqUc_zTViA" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="758" height="283" src="https://blogger.googleusercontent.com/img/a/AVvXsEhoNTNQjBui5qgGJPr4NUN-hbzkZkAigr6E8kFmH32M35Erdse4UYBJAx-LJ4l7TJ8rdq29ZDQ6gMlg3NnI3GwPaZ-S6GMa_RrEby4HCPw6jppMhxRZnzLHcopC3VuYuT31Mfehd79OjQ4G_9Z3yFGe2-WUhg7GcC7VinExl_yFXqUc_zTViA=w372-h283" width="372" /></a></div><br /><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: You have a perfect POV shot in MOSES AND AARON; when Moses comes down from the mountain you have a shot from the point of view of the golden calf...</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><b>STRAUB</b>: You know that calf was a bull. No, but it's true, it's not like in Carmen, "the golden calf is always still standing," you know how Cocteau wrote, the golden calf is still standing? But it's not at all the same thing. [Straub draws it in the way Cocteau drew it]. It is a symbol of fertility, the bull; it was the prophets who said it was a calf afterwards, in derision, because the bull is fertility, that's all.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhzxhoxKH2AQPU5mM1qKLlO4oAzv3C-lg1Ov7VLVcr3XQF7J00_B3J8YgfByM6Bhps3uagO3pZfpOXLnV4ZoH-s15lPYWIA4ePYO3ulaHHQXU5hON2qkLNhmE60V8qmnAX76--J1biBt0vSqE8sP4h4CfEV0ZNUq08oMwV0AWugK79XIo6Qkw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="758" height="499" src="https://blogger.googleusercontent.com/img/a/AVvXsEhzxhoxKH2AQPU5mM1qKLlO4oAzv3C-lg1Ov7VLVcr3XQF7J00_B3J8YgfByM6Bhps3uagO3pZfpOXLnV4ZoH-s15lPYWIA4ePYO3ulaHHQXU5hON2qkLNhmE60V8qmnAX76--J1biBt0vSqE8sP4h4CfEV0ZNUq08oMwV0AWugK79XIo6Qkw=w657-h499" width="657" /></a></div><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: You've said the camera is the gaze of the people.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><b>STRAUB</b>: Yes, I believe so.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: But all the shots are not from the point of view of the people. What are they? Yours? God's? The spectator's?</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><b>STRAUB</b>: No, no. It's always the people, even when it's not the people, it's the people's gaze.</span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><div><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: If it's the heart... [<i>typescript cut</i>]</span></div><div><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><br /></div></span></div><div><span style="font-family: arial;"><b>STRAUB</b>: Because when the choir is there at the beginning, when the choir appears, it takes a certain time for it to change, I think it changes and it becomes precisely what we've just said––precisely when there's the tracking shot turning around Moses and Aaron. From there, it's almost always there, and there at the beginning, as the people at that moment are crushed into a situation of servitude; they can only begin to have a gaze from the moment they begin to revolt––and they begin to revolt: firstly against Moses' idea. They can't have a gaze as long as they don't revolt. So at the beginning we don't know, and maybe there's a cruelty there at the beginning, I don't know.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjj7C1vHlQlm3lgLFJZXrqJ5FjH4QEhvw4WRTpYEvit3PWc6S1LWgxBxIi896Q2NxHaTlzSRjlNUkdWqpgj3uqObsbcdTv4YrVOlwRhB4G2JvNKyf8LQ9IswdtFoJNm3gC57sdv56Jj2P_PGf68q1VbgVLPEMyRadU2M2VR7bfVBhQ3pp1NxA" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="758" height="351" src="https://blogger.googleusercontent.com/img/a/AVvXsEjj7C1vHlQlm3lgLFJZXrqJ5FjH4QEhvw4WRTpYEvit3PWc6S1LWgxBxIi896Q2NxHaTlzSRjlNUkdWqpgj3uqObsbcdTv4YrVOlwRhB4G2JvNKyf8LQ9IswdtFoJNm3gC57sdv56Jj2P_PGf68q1VbgVLPEMyRadU2M2VR7bfVBhQ3pp1NxA=w463-h351" width="463" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhQBhpKuj7DQw7JUvbiHN36wLEFy4Pm9rI0eWWNcC-la-e4qcE9yP4Exe7wB33HJXezUIiIroOx8jy7GioKIK6x-eF59_EsIPIbzbtNWNm0tojYrilEisdw-M4tTyQm2wZpJT3nKkobCcHTzZeZEKdRGmRblIltIdYLYYi-q2ShCv02E5c-hQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="758" height="353" src="https://blogger.googleusercontent.com/img/a/AVvXsEhQBhpKuj7DQw7JUvbiHN36wLEFy4Pm9rI0eWWNcC-la-e4qcE9yP4Exe7wB33HJXezUIiIroOx8jy7GioKIK6x-eF59_EsIPIbzbtNWNm0tojYrilEisdw-M4tTyQm2wZpJT3nKkobCcHTzZeZEKdRGmRblIltIdYLYYi-q2ShCv02E5c-hQ=w463-h353" width="463" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj2LMTne2DD7FwJg9HJFaHDgZD7btkJMoomRLDqk2X0tpIUiRromJCk4FWRejKcujQk7NBaDW-Tok3T-L8vjQKvyMS_hpYwLbeYgnm2nauQOAxBhI7zH3KU3JG8X0vgz-EsqAFpZUecoAzjNDlkgz0uGRmopEYyyWsRzQVCkbqskTbTbwnvAw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="758" height="349" src="https://blogger.googleusercontent.com/img/a/AVvXsEj2LMTne2DD7FwJg9HJFaHDgZD7btkJMoomRLDqk2X0tpIUiRromJCk4FWRejKcujQk7NBaDW-Tok3T-L8vjQKvyMS_hpYwLbeYgnm2nauQOAxBhI7zH3KU3JG8X0vgz-EsqAFpZUecoAzjNDlkgz0uGRmopEYyyWsRzQVCkbqskTbTbwnvAw=w460-h349" width="460" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhuhgdxNGi6RsA03VD6bI4nfjiBQqcPKDXX9E5Hd85f-Tmf6tkEb8lUbnoDZcWUxMM_LyA9ywcojBH06MApZ4Iy31uQoc2zbzT6X_fNfdkRc-5QyzUhMJVAHkM_oZUJ024z2_UFZ3I74mudfll670-1eT6vPhVN9SXBiPGITn5WfxGFchEYiQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="758" height="349" src="https://blogger.googleusercontent.com/img/a/AVvXsEhuhgdxNGi6RsA03VD6bI4nfjiBQqcPKDXX9E5Hd85f-Tmf6tkEb8lUbnoDZcWUxMM_LyA9ywcojBH06MApZ4Iy31uQoc2zbzT6X_fNfdkRc-5QyzUhMJVAHkM_oZUJ024z2_UFZ3I74mudfll670-1eT6vPhVN9SXBiPGITn5WfxGFchEYiQ=w459-h349" width="459" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></span></div><div><span style="font-family: arial;"><br /></span></div><div><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: How do you collaborate, are you the author?</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><b>STRAUB</b>: No, it's not a question that can be answered like that.</span></div><div><span style="font-family: arial;"><br /></span></div><div><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: Have you seen Rossellini's latest film, THE AGE OF THE MEDICI?</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><b>STRAUB</b>: I saw the first episode of St. Augustine, and I rewatched LA PRISE DE POUVOIR PAR LOUIS XIV for the second time and I really hate it and all the latest ones. They don't say anything, they're neither didactic nor historical, they only tell us about Rossellini's ideology, and consequently that of RAI, even if he claims that he has nothing to do with it, I'm sure it's exclusively Italian Christian Democrat. I haven't seen THE MEDICI, but SOCRATES is like that, AUGUSTINE OF HIPPO is like that, THE ACTS OF THE APOSTLES is like that.</span></div><div><span style="font-family: arial;"><br /></span></div><div><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: And LOUIS XIV?</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><b>STRAUB</b>: LOUIS XIV makes us think there's a subject, that it's a discourse on history, using a machinery of pomp, and that this is consequently a means of filming the Louis XIV period, and in the end, as in 90% of Italian films, the spectator leaves empty-handed, is taken in and falls into the decor. Instead of being a discourse on the decor, it's <i>décoratisme</i>.</span></div><div><span style="font-family: arial;"><br /></span></div><div><b style="font-family: arial;">J.H./B.K.</b><span style="font-family: arial;">: You were a friend of Truffaut's...</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><b>STRAUB</b>: Yes, we met in Paris at the <i>Cahiers </i>office... no, in a cinema called Parnasse one evening between '51 and '54, after I had come to.... [<i>TYPESCRIPT CUT</i>]</span></div></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="text-align: center;"><span style="font-family: arial; font-size: large;">*</span></div><div style="text-align: center;"><span style="font-family: arial; font-size: large;"><br /></span></div><div style="text-align: left;"><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;">Past May Day Dedications to </span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><span>Danièle Huillet on <i>Kino Slang</i></span><br /><span><i> *</i></span></span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="http://kinoslang.blogspot.com/2007/05/hand-of-julius-caesar-fancy-would-paint.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2007</span></a> - Examine Caesars </span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="http://kinoslang.blogspot.com/2008/05/song-of-two-humans-but.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2008</span></a> - Song of Two Humans, But...!</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="http://kinoslang.blogspot.com/2009/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2009</span></a> - This Land is Mine</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="http://kinoslang.blogspot.com/2010/05/also-commemorating-birthday-of-daniele.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2010</span></a> - Men Without Women</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="http://kinoslang.blogspot.com/2011/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2011</span></a> - Freedom</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="http://kinoslang.blogspot.com/2012/05/happy-may-day-with-water-for-small.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2012</span></a> - Small Grasses</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="http://kinoslang.blogspot.com/2013/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2013</span></a> - That's Just What We Intend</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="http://kinoslang.blogspot.com/2014/05/blog-post.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2014</span></a> - The Lizards</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;">2015 - (no post - misery)</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><span><span style="color: orange;"><a href="http://kinoslang.blogspot.com/2016/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2016</span></a> </span>- Complete Animals</span><br /><span><a href="https://kinoslang.blogspot.com/2017/05/daniele-huillet-at-work.html" style="color: white; text-decoration-line: none;" target="_blank">2017</a> - Huillet at Work (interview)</span></span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><span><a href="https://kinoslang.blogspot.com/2017/05/venez-maider-maider-mayday-may-day-may.html" style="color: white; text-decoration-line: none;" target="_blank">2017</a> - Venez m'aider! (plus Duras on Othon)<br /></span><span><a href="https://kinoslang.blogspot.com/2018/05/straub-huillet-talking-jms-jean-marie.html" style="color: white; text-decoration-line: none;" target="_blank">2018</a> - Straub/Huillet/Talking (interview)</span><br /><span><a href="https://kinoslang.blogspot.com/2019/05/daniele-huillet-born-may-1st.html" style="color: white; text-decoration-line: none;" target="_blank">2019</a> - Born May 1st. . .</span></span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="https://kinoslang.blogspot.com/2020/05/this-is-what-i-meant-yesterday-when-i.html" style="color: white; text-decoration-line: none;" target="_blank">2020</a> - We Caught a Political Conscience like One Catches Chickenpox</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="https://kinoslang.blogspot.com/2021/05/may-night.html" style="color: white; text-decoration-line: none;" target="_blank">2021</a> - May Night</span></div><div style="background-color: black; color: #999999; font-size: 13.2px;"><span style="font-family: arial; font-size: large;"><a href="https://kinoslang.blogspot.com/2022/05/may-day.html" target="_blank">2022</a> - ...progress / away from / the bulk of humanity</span></div></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large;"><span style="font-family: arial;"><br /></span></div><div style="font-size: large; text-align: right;"><div style="font-size: medium; text-align: center;"><span style="font-family: arial; font-size: large;"><br class="Apple-interchange-newline" />*</span></div><div><span style="font-family: arial; font-size: large;"><br /></span></div></div><div style="font-size: large; text-align: right;"><br /></div><div style="font-size: large;"><br /></div><div style="font-size: large;"><br /></div></span></div></div></div></div></div></div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-37324321995126006332022-05-24T11:41:00.001-07:002022-05-24T11:45:58.773-07:00Jean Ferry Letter<div style="text-align: left;"><div class="separator" style="clear: both; text-align: right;"><span style="font-size: large;"><br /></span></div><div style="text-align: right;"><div class="separator" style="clear: both; text-align: center;"><div style="font-family: times; text-align: left;"><span style="font-size: large;">Pure scenes are not always the result of harmony. Think of:</span></div><div style="font-family: times; text-align: left;"><span style="font-size: large;"><br /></span></div></div></div></div><span style="font-size: large;"><span style="font-family: times;">––Laughton resisting Agee's first draft of NIGHT OF THE HUNTER;</span><br /><span style="font-family: times;">––Ford tempering the liberalism of Nichols with vulgarity and Irish contradiction;</span><br /></span><div style="text-align: left;"><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><div style="font-family: times; text-align: left;"><span style="font-size: large;">––Bezzerides writing against Spillane in KISS ME DEADLY.</span></div></div></div></div><div style="text-align: left;"><div style="text-align: right;"><div class="separator" style="clear: both; text-align: center;"><div style="font-family: times; text-align: left;"><span style="font-size: large;"><br /></span></div><div style="font-family: times; text-align: left;"><span style="font-size: large;">Pure scenes, and there is no purer love scene than in CELA S'APPELLE L'AURORE (IT'S CALLED THE DAWN), are sometimes the result of a rejection of the original...</span></div><div style="font-family: times; text-align: left;"><span style="font-size: large;"><br /></span></div><div style="font-family: times; text-align: left;"><span style="font-size: large;">Poor Jean Ferry.</span></div><div style="font-family: times; text-align: left;"><span style="font-size: large;"><br /></span></div><div style="font-family: times; text-align: left;"><span style="font-size: large;"><br /></span></div><div style="font-family: times; text-align: center;"><span style="font-size: large;"> ––A.R.</span></div><div style="font-family: times; text-align: center;"><span style="font-size: large;"><br /></span></div><div style="font-family: times; text-align: center;"><span style="font-size: large;"><br /></span></div></div><div style="text-align: right;"><br /></div><br /></div><div class="separator" style="clear: both; text-align: right;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiYSf_Usj9CN2Al-qLTutod67fpVoiX2R4stdsrRDOU28WdPzpDl5DodvClfCcBxmtyj-Tl-QysokYjQCO7A2aEIkJ7fqCP7a_sxkRtd1Bv5eQlN3qolE3B5ao_BeXI53BsO1NQXAUDNfOf9gWoNM0rcJ4ABcFToZ5e-pKs4Yr_uvywrUTxEw=s250" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="175" height="250" src="https://blogger.googleusercontent.com/img/a/AVvXsEiYSf_Usj9CN2Al-qLTutod67fpVoiX2R4stdsrRDOU28WdPzpDl5DodvClfCcBxmtyj-Tl-QysokYjQCO7A2aEIkJ7fqCP7a_sxkRtd1Bv5eQlN3qolE3B5ao_BeXI53BsO1NQXAUDNfOf9gWoNM0rcJ4ABcFToZ5e-pKs4Yr_uvywrUTxEw" width="175" /></a></div><br /></div><div style="text-align: right;"><span style="font-family: times; font-size: large; text-align: left;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;"><br /></span></span></div><div style="text-align: right;"><span style="font-family: times; font-size: large; text-align: left;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">Paris, 20 February 1956</span></span><span style="font-family: times; text-align: left;"> </span></div><div style="text-align: right;"><div style="font-family: times; text-align: left;">
<p> </p><blockquote class="tr_bq"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">My dear Buñuel,</span></span> </blockquote><p> </p>
<blockquote class="tr_bq">
<span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">I have just seen <i>Cela s'appelle l'aurore.</i></span></span> </blockquote><p><br /></p>
<blockquote class="tr_bq">
<span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">I am enclosing a copy of my letter to Monsieur Tenoudji explaining the reasons why I refuse to appear in the credits.</span></span> </blockquote><p> </p>
<blockquote class="tr_bq">
<span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">I hope the film is a great success.</span></span> </blockquote>
<p> </p><blockquote class="tr_bq"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">With my eternal regrets,</span></span> </blockquote>
<blockquote class="tr_bq">
<span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">Jean Ferry</span></span> </blockquote>
<blockquote class="tr_bq">
<span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">51 Rue Bonaparte</span></span> </blockquote>
<div style="font-style: normal;">
<br /></div>
<div style="text-align: center;"><span style="font-size: large;">
* </span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div>
<blockquote class="tr_bq" style="font-style: normal;">
<span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">Dear Mr. Tenoudji,</span> </span></blockquote>
<p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">I have finally, after turning down numerous requests during the shooting of the film and after its conclusion, watched <i>Cela s'appelle l'aurore</i>. </span></span> </blockquote><blockquote class="tr_bq" style="font-style: normal;"><br /></blockquote><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">I hope sincerely that for your sake (and that of Marchal, who is an admirable man), the film will be a success on all levels, intellectual and financial.</span></span> </blockquote><p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">It would be quite unjust, however, if any such success were to be associated with my name. I must confess that none of the ideas for the plot and dialogue attributed to me in the credits, with excessive generosity, would have ever occurred to me, and that I was not consulted nor even aware of their existence before the screening.</span> </span></blockquote><p> </p>
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<span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">As far as dialogue goes, it is not necessarily so very serious, because anyone of my acquaintance will know I write French with a certain degree of ease. No one would ever associate my name with something that seems to have been written in Swiss or Belgian, or some other language that is truly difficult to define, but is certainly not French. Even someone looking for reasons to attack me would not believe I could plumb such depths of mediocrity, if one may speak of depths, that is, when charting such a vacuum.</span></span> </blockquote><p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">As for the plot, it was not I who rendered the relationship between Clara and the doctor completely incomprehensible, but a series of mind-boggling cuts. It was not I who had the brilliant idea of indicating the degree of lyrical and ardent passion of the lovers with a heated scene (that I hope will provoke much mirth) where the gentleman takes off his socks and massages his toes, while the woman brings him a fine bowl of steaming soup.</span></span> </blockquote><p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">I am more than concerned about this: I am beside myself with rage to discover that the wonderful love story between Clara and Valerio we were so deeply moved by has been so crudely dishonored, sabotaged and ridiculed to the point of ending on the grotesque suggestion of some kind of <i>menage a trois</i>. That decision, so hostile to love and women, plays no small part in freezing the human warmth that permeates the book and that has been systematically and mercilessly hounded out here... to be replaced, incidentally, with nothing.</span> </span></blockquote>
<p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">Given its theme, this should have been a romantic, even an excessively romantic film. </span> </span></blockquote><p> </p>
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<span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">And God only knows what faith I had in Buñuel to achieve this. And yet...</span> </span></blockquote>
<p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">It was not I (who had neither voice nor vote, and you may remember my timid complaints in this respect) who decided to place a volume by Claudel on the policeman's desk (what is achieved by that idiotic provocation?), nor to have him recite parts of Claudel verbatim (my dialogue was stripped right back to nothing because, as far as I can see, there was no space left for it!).</span> </span></blockquote>
<p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">It was not I who came up with the nauseatingly vulgar idea of pushing a dying woman on a cart through a village fiesta (and what a fiesta!). Nor of including an incomprehensible cock-fighting sequence, the purpose of which no one could fathom. Unless it was, of course to replace one of the love scenes I wrote for Clara and Valerio; or, more deplorably, to suppress certain moments of transition so ineptly that at times one struggles to follow the story. </span> </span></blockquote>
<p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">It was not I who introduced 750 cats into the film; it was not I who... etc. etc.</span> </span></blockquote>
<p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">In short, it is not I who should be applauded if the film is, as I hope and reiterate, a success. Nor should I be criticized by people who share my opinion of it. Those who substituted my work for their own (and I don't know who they all are, as no one had the courtesy to advise of their participation) should take full responsibility. I am aware that my contract agrees to all possible and imaginable alteration to my work. That clause has been applied above and beyond all possible expectation (and misgiving). I am now simply asking to apply the clause that authorizes me to remove my own name from the credits and all publicity. </span> </span></blockquote>
<p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">A scriptwriter is of little account and I hope you will forgive the ridiculous fervor with which I defend myself here, or rather, with which I defend the expectations I had of this film. If I am indifferent to my name being associated with certain projects, by definition less far-reaching, this is not the case with Buñuel, for whom I have always had the highest esteem. </span> </span></blockquote>
<p> </p><blockquote class="tr_bq" style="font-style: normal;"><span style="font-size: large;"><span style="color: #999999; font-family: "courier new" , "courier" , monospace;">With profound regret, I remain at your disposition. </span> </span></blockquote><p> </p>
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<span style="color: #999999; font-family: "courier new" , "courier" , monospace; font-size: large;"> Jean Ferry</span></blockquote><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjhHCsRMWNHRIFNXqYTvbFhQP1cCozig646yzM7FJgYryMEuRSoOOhEemgsZ77b9gpTXtqVAefzKWAxQoIqSF3lYbzM05PDHs_v1PlHxqA41YmnnRxLb8Y42XKa_JsUqrUjrujyftYsQuBHRkT00Ill1g-ZBJsqv1100CnNlIhuje5CiJTZjQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="798" data-original-width="1095" height="375" src="https://blogger.googleusercontent.com/img/a/AVvXsEjhHCsRMWNHRIFNXqYTvbFhQP1cCozig646yzM7FJgYryMEuRSoOOhEemgsZ77b9gpTXtqVAefzKWAxQoIqSF3lYbzM05PDHs_v1PlHxqA41YmnnRxLb8Y42XKa_JsUqrUjrujyftYsQuBHRkT00Ill1g-ZBJsqv1100CnNlIhuje5CiJTZjQ=w514-h375" width="514" /></a></div><br /> <p></p><p><br /></p><p><br /></p><p> </p>
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<div style="margin: 0px;"><div style="text-align: right;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: right;"><span style="font-size: large;">Reproduced from</span><a href="https://www.alibris.com/booksearch?mtype=B&keyword=bunuel+life+letters&hs.x=0&hs.y=0" target="_blank"></a></div><a href="https://www.alibris.com/booksearch?mtype=B&keyword=bunuel+life+letters&hs.x=0&hs.y=0" target="_blank"><br /><img border="0" height="547" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkVkYRNsjYyuS_qoRmFDsqO7ky8r_F2as5kym3kAWf-4Mgj8l3PMCDNkNR5tiyBSiJEAz8Y0c8eAUZbkZO6l8ZNGVQ9yKEhfGha46Kgo5Lut5pKWXIDMoWfzym6HjlCmMlb3EH/w364-h547/bunuel+life+in+letters+evans+viejo.jpg" width="364" /></a><br />
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<br /></div><div><br /></div><div><span style="font-size: large;">available <a href="https://www.alibris.com/booksearch?mtype=B&keyword=life+letters+bunuel&hs.x=0&hs.y=0" target="_blank">here</a>.</span></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div style="text-align: left;"><span style="font-size: large;"><b>Buñuel</b>: It's a 'love-yes-police-no' film and I have good memories of it. My agent in Paris had recommended Emmanuel Robles' novel, and that year, 1954, I was on the jury at the Cannes Film Festival. I liked the book and began to work on the script with Jean Ferry, a Surrealist writer and author of a study of Raymound Roussel. </span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: left;"><span style="font-size: large;"><b>Turrent</b>: Ferry was also one of the founders of the College of Pataphysics.</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><b>Buñuel</b>: Yes, he was a pataphysician. And a curious thing happened to me with him. He wrote a three-page love scene, with kisses and very lyrical phrases. I would have been embarrassed to film something like that. Then it came to me to have the protagonist arrive at his lover's house, they speak tenderly, and, since he is tired, he takes off his shoes. While she serves him some soup, he says, 'Look in my pocket. I bought you a present.' She finds a live turtle in his pocket. Then the man and the woman kiss. And this way I avoided three pages of dialogue that might have been good on paper, but were impossible to film. Ferry wrote to the producer, demanding that his name be removed from the credits because I had converted a sublime scene into another one about shoes, soup, and trivialities. Poor Ferry, he has since died. He had talent, but on that occasion it failed him.</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: right;"><span style="font-size: large;"><br /></span></div><div style="text-align: right;"><span style="font-size: large;"><div style="font-size: medium; text-align: right;"><span style="font-size: large;"><i>Objects of desire : conversations with Luis Buñuel</i> </span></div><div style="font-size: medium; text-align: right;"><span style="font-size: large;">José de la Colina & Tomás Pérez Turrent</span></div><div style="font-size: medium; text-align: right;"><span style="font-size: large;">1975-77 </span></div><div><span style="font-size: large;"><br /></span></div></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh1KZT7_yOICMOupI0gjXdu4xoOQhA4bapnrUV9fSzvhpbYdlLvC3WKw7-_e6cKN1L4qzqgyVaMsk3f3yA7Gi_mdATrjnEBh4k_45sCs2CedWMDXs4i4ByAP6m0vrGogjkogUZ5g0j6uoGvbo8mLssfC_t0_0HBUk4XKWWZ6SxzZVq-RbYBCA=s704" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="512" data-original-width="704" height="502" src="https://blogger.googleusercontent.com/img/a/AVvXsEh1KZT7_yOICMOupI0gjXdu4xoOQhA4bapnrUV9fSzvhpbYdlLvC3WKw7-_e6cKN1L4qzqgyVaMsk3f3yA7Gi_mdATrjnEBh4k_45sCs2CedWMDXs4i4ByAP6m0vrGogjkogUZ5g0j6uoGvbo8mLssfC_t0_0HBUk4XKWWZ6SxzZVq-RbYBCA=w691-h502" width="691" /></a></div><br /><div style="text-align: right;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: right;"><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;">*</span></div><br /><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><span style="font-size: large;"><br /></span></div><div style="text-align: right;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;">CELA S'APPELLE L'AURORE </span></div><div style="text-align: center;"><span style="font-size: large;">(IT'S CALLED THE DAWN) </span></div><div style="text-align: center;"><span style="font-size: large;">can be seen <a href="https://kinoslang.blogspot.com/2020/04/kino-slang-quarantine-presents-cela.html" target="_blank">here</a> on Kino Slang.</span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgsmNCjhqQhY4wSVSEqkD5_hEAb9kd0kP7ZXjHMX4nZJerVN5Vjr-kjCsB4OI3mmiw_yrujhXsiN16z8zsEsgHNBFl60w-v2dLd8xZ6EY120XwwtFPVRLGh4pN7Np4y3HldMLboDdgAx1ch3w4lhIa00mgWPIx-FZd5s8V3ER_oCegJo9TH9w" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2386" data-original-width="2840" height="570" src="https://blogger.googleusercontent.com/img/a/AVvXsEgsmNCjhqQhY4wSVSEqkD5_hEAb9kd0kP7ZXjHMX4nZJerVN5Vjr-kjCsB4OI3mmiw_yrujhXsiN16z8zsEsgHNBFl60w-v2dLd8xZ6EY120XwwtFPVRLGh4pN7Np4y3HldMLboDdgAx1ch3w4lhIa00mgWPIx-FZd5s8V3ER_oCegJo9TH9w=w679-h570" width="679" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjEXEFP_cmxtX7NsUMbQyuyttpzcj4XAyAoZQk0qHpP8rPQITr_yHRD5ys2XTrirujWcbtpIja5aWunKyOvGZYRBx6saiGa1-DGpO9XtPPmLM9cQlNt8SQ88TGkz6C5xDKW-uTNAgBcYxPCQn6rvU81RM8Bp78g1aG9lvtwt_vsPfC_LGC_Uw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="766" data-original-width="1000" height="521" src="https://blogger.googleusercontent.com/img/a/AVvXsEjEXEFP_cmxtX7NsUMbQyuyttpzcj4XAyAoZQk0qHpP8rPQITr_yHRD5ys2XTrirujWcbtpIja5aWunKyOvGZYRBx6saiGa1-DGpO9XtPPmLM9cQlNt8SQ88TGkz6C5xDKW-uTNAgBcYxPCQn6rvU81RM8Bp78g1aG9lvtwt_vsPfC_LGC_Uw=w682-h521" width="682" /></a></div><br /><br /></div><br /><br /></span></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div>
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Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-27258376909288730532022-05-09T13:39:00.010-07:002023-05-14T04:00:26.109-07:00<p><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;">INTERVIEW WITH CHRISTOPHE CLAVERT</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;">by Andy Rector</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: Arial Narrow; font-size: large;">Christophe Clavert is a filmmaker, editor, and cinematographer from Paris. He has shot eleven of Straub's films on video and assisted in their editing. He's taken on various other roles in collaboration with Straub, including as an actor in three recent films. We conducted this interview over April and May, 2022, via email. </span></i></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: Arial Narrow; font-size: large;"><br /></span></i></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkb66WGtXLMFdMdK_IBApQT3JRpixfaZc6jr-vh8ZdmsghOp8-8lKrIJUj5keswu2AM6m8TnLwPS-ZhlvVHcJ6eIAVJXdr6LuM9rrahfaVU5u5Vz9Y5pwE5o0Z754I8sR65NTOxl-TrUi0dAekZP9tZfWz4g4EM2bZvS57NGfYn0N9zs-1zw/s909/SundA.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="707" data-original-width="909" height="542" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkb66WGtXLMFdMdK_IBApQT3JRpixfaZc6jr-vh8ZdmsghOp8-8lKrIJUj5keswu2AM6m8TnLwPS-ZhlvVHcJ6eIAVJXdr6LuM9rrahfaVU5u5Vz9Y5pwE5o0Z754I8sR65NTOxl-TrUi0dAekZP9tZfWz4g4EM2bZvS57NGfYn0N9zs-1zw/w697-h542/SundA.png" width="697" /></span></a></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: large;">Clavert and Straub on SCHAKALE UND ARABER (Jackals and Arabs, 2011)</span></div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><span style="font-family: Arial Narrow; font-size: large;"><br /> </span><p></p><span style="font-family: Arial Narrow; font-size: large;"><b>KINO SLANG</b>: Your work with the Straubs coincides with their first use of digital video in 2006. I believe you were an assistant to Jean-Claude Rousseau on their first miniDV picture, the cine-tract EUROPA 2005, 27 OCTOBRE. What was your background in cinema at that time, and how did you come to meet and work with the Straubs, and Rousseau? </span><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: I had finished my first short in 2001, which I showed to Danièle and Jean-Marie, who liked it and proposed to show it before IL RITORNO DEL FIGLIO PRODIGO / UMILIATI (2003) for the film's Paris release. After that we spoke to each other periodically on the phone and met when they were in Paris (at the time they lived between Paris and Rome). </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">Regarding Rousseau, I discovered his film LA VALLÉE CLOSE (1995) at the Chaillot Cinémathèque in Paris on the occasion of a retrospective of the Straubs, who programmed it as part of a <i>carte blanche</i>. Some time later, we did a radio program on cinema with friends (instigated by Lili Hinstin) once a month on a little community-run radio station, and some of us (Mehdi Benallal, who will later be an assistant on LE STREGHE, FEMMES ENTRE ELLES [2009], and Adrienne Bavière) decided to do an interview with Jean-Claude around his films. After that we would meet regularly. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHeQFDhoX73K1AJFicpWL8mNjxAh8Aknczqf9J0bjdv-iTtKPGN7qNTC7H0BJOgBD6g-2wfzbVYrd_apMn2FvG33U7d5zi-sW9COQSsb6SbByM1p9iAmeH7xbJ8CnewmpdybVmZyb5X9UiMSfOdPa-9jgpVbpc_bujgHJebcfMoURW3hq89Q/s956/europa%202005%20croquis%20Clavert.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="956" height="441" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHeQFDhoX73K1AJFicpWL8mNjxAh8Aknczqf9J0bjdv-iTtKPGN7qNTC7H0BJOgBD6g-2wfzbVYrd_apMn2FvG33U7d5zi-sW9COQSsb6SbByM1p9iAmeH7xbJ8CnewmpdybVmZyb5X9UiMSfOdPa-9jgpVbpc_bujgHJebcfMoURW3hq89Q/w668-h441/europa%202005%20croquis%20Clavert.png" width="668" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><span>In spring 2006, I received a call from Jean-Marie asking me if I knew where the death of Zyed Benna and Bouna Traoré (two young boys who were killed, </span><span>electrocuted inside a power station while hiding from the police,</span><span> on October 27, 2005 in Clichy-sous-Bois) had taken place. I answered that I didn’t know exactly, but that I'd try to find it. So I went to the place, I made a drawing of the power station area, and brought it to Jean-Marie and Danièle's place. I think they told me at this moment that the Italian TV channel RAI 3 had commissioned them, among with other filmmakers, to make a little film which would be a sort of sequel to Rossellini’s EUROPA '51. They asked me if I wanted to come along with them, and that Jean-Claude Rousseau would be shooting the film with his miniDV camera. So we went to the place. During the shoot I sat on the ground, holding Jean-Claude's tripod so that it wouldn't move during the pans. (Jean-Claude made a film from the rushes of EUROPA 2005, 27 OCTOBRE for Jean-Marie's 85th birthday called UNE VIE RISQÉEU, which can be seen </span><a href="https://www.youtube.com/watch?v=z9orcABv2P0" target="_blank">here</a><span>.) Jean-Marie and Danièle asked Jean-Claude to do the editing, which he did by himself, and he proposed to them the film as we know it: five versions of the same sequence of 2 shots. Jean-Claude asked me to finalize with him the two headlines appearing at the end: "chambre à gaz"(gas chamber), "chaise électrique" (electric chair). </span></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVPF8IWb8Ft1vXccGM0G-2WrYoWruyKiiiCqg3wc-PXgv1Bbl2Y1qqzTW-UZfdkU83Mk_izfjUbDxUhMZgaBeEUgJqMX-gNT8XTpzvct7YNEFObjcerC8It7FtT6Mz4v6u0ql9mt365vQcRTEDOa1CEa2ZnFIQCl1KMFRC3JKGZLx8DqEn9Q/s768/vlcsnap-2022-05-09-00h05m12s594.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="572" data-original-width="768" height="487" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVPF8IWb8Ft1vXccGM0G-2WrYoWruyKiiiCqg3wc-PXgv1Bbl2Y1qqzTW-UZfdkU83Mk_izfjUbDxUhMZgaBeEUgJqMX-gNT8XTpzvct7YNEFObjcerC8It7FtT6Mz4v6u0ql9mt365vQcRTEDOa1CEa2ZnFIQCl1KMFRC3JKGZLx8DqEn9Q/w656-h487/vlcsnap-2022-05-09-00h05m12s594.png" width="656" /></span></a></div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>KINO SLANG</b>: What's the title of your short from 2001 that you said screened with IL RITORNO DEL FIGLIO PRODIGO / UMILIATI?</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /><b>CLAVERT</b>: It's called LES FAUX-MONNAYEURS OU LA BONNE AFFAIRE (THE COUNTERFEITERS, OR THE GOOD DEAL). I’m actually restoring it (it was originally shot on Super 8mm, edited on Beta SP, then the Beta SP master transferred to 35mm) with the help of Olivier Boischot who has done all the restorations of Jean-Marie and Danièle's films.</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK0gXSPF5lJSCeM4r2Cpk_yrC1QUH55GhtfZ8R1oBKZVbrklEJrM6uuysmC2oUV6ForE9YhvkbZTK5J3wUaWygflXx-MpBxix339Sjkp35TCwqwS1bmUTA1gfd7ZgywbbtkfK97JxlAYvlQX7ilOgqydxVKG-oJ74wgl2nD6ifhbYFPXeo2g/s1122/Screen%20Shot%202022-05-08%20at%201.38.15%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="1122" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK0gXSPF5lJSCeM4r2Cpk_yrC1QUH55GhtfZ8R1oBKZVbrklEJrM6uuysmC2oUV6ForE9YhvkbZTK5J3wUaWygflXx-MpBxix339Sjkp35TCwqwS1bmUTA1gfd7ZgywbbtkfK97JxlAYvlQX7ilOgqydxVKG-oJ74wgl2nD6ifhbYFPXeo2g/w684-h488/Screen%20Shot%202022-05-08%20at%201.38.15%20PM.png" width="684" /></a></div></span></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: large;">LES FAUX-MONNAYEURS....</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>KINO SLANG</b>: I just watched LES FAUX-MONNAYEURS OU LA BONNE AFFAIRE (<a href="https://vimeo.com/25540344" target="_blank">the unrestored version</a>). I liked it very much; without subtitles I didn't quite understand everything... it's very fast, like NICHT VERSÖHNT. It has one of the funniest, quickest gags I've ever seen in a French film: A bizarre dog crosses the screen, from east to west, a stray dog we assume; a man suddenly charges into the frame, walking south to north, between the dog and a woman strolling behind it; he violently trips (spilling all of his business) on an invisible leash between them, a leash made invisible by the high contrast photography. The question is, will the leash be visible in the restoration? </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><span><b>CLAVERT</b>: No, we won’t see it, indeed</span> it's an invisible leash! </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>KINO SLANG</b>: Before working with Straub and Huillet, were you greatly influenced by their films? </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: Influenced, I don’t know... I discovered their films during the Paris release of VON HEUTE AUF MORGEN and LOTHRINGEN! in early 1997, so it was all very new to me when I shot LES FAUX-MONNAYEURS in the Spring of 1999; even if my discovery of their cinema had been very important, it was in the sense that: there's something we think exists, but we don't truly know it exists yet. I rapidly saw most of their films in the cinemas (there were several small retrospectives in the following years). But the only conscious influence on my short was Fritz Lang's last film (DIE 1000 AUGEN DES DR. MABUSE, 1960). </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLx9l57mwAdbniaiV6Rfye8QtGCrVB-dh1Ym1oVXSzLnxwDmBfEKPnSQf7AyhYc7i7aq_qrwX53bDG9ar9hg4JSMugyt_Is97MjkbooooK-rllHIY3RuXdL75fF0I4ts-MqO204OckExZYw61BvEwRMS4IjqiDk6_CXwfiiJuqJQ7xKhBVcA/s956/vlcsnap-2022-05-08-13h50m47s802.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="576" data-original-width="956" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLx9l57mwAdbniaiV6Rfye8QtGCrVB-dh1Ym1oVXSzLnxwDmBfEKPnSQf7AyhYc7i7aq_qrwX53bDG9ar9hg4JSMugyt_Is97MjkbooooK-rllHIY3RuXdL75fF0I4ts-MqO204OckExZYw61BvEwRMS4IjqiDk6_CXwfiiJuqJQ7xKhBVcA/w834-h504/vlcsnap-2022-05-08-13h50m47s802.png" width="834" /></span></a></div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>KINO SLANG</b>: During the making of EUROPA 2005, 27 OCTOBRE, did Huillet or Straub have much to say about this new tool, digital video? </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: As far as I remember, they didn't say anything about digital video. They knew what it would look like through Jean-Claude Rousseau’s films (since LETTRE À ROBERTO in 2002) and also through Pedro Costa’s films. And it was an easier way to shoot image and sound, much lighter than the usual 35mm shoot. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx2xTfGAJcRG3mxkpEV1CUotFJkKXe2EPgUaozM5iJ0GlMXEYeOsZm_ypYWfVZd5DZpXx1Q4pY6aK-qKNFvX7edv3oxo2CXL9jQd0CcWhv-myonWT1az5BEPTaha32myy_2LUdJ5Go1FGe7E4dJwPsAmZlT8dX0cYtRXnZzKouF2Py4pPoww/s1200/Rousseau_Lettre-a-Roberto_01.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="900" data-original-width="1200" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx2xTfGAJcRG3mxkpEV1CUotFJkKXe2EPgUaozM5iJ0GlMXEYeOsZm_ypYWfVZd5DZpXx1Q4pY6aK-qKNFvX7edv3oxo2CXL9jQd0CcWhv-myonWT1az5BEPTaha32myy_2LUdJ5Go1FGe7E4dJwPsAmZlT8dX0cYtRXnZzKouF2Py4pPoww/w556-h417/Rousseau_Lettre-a-Roberto_01.jpeg" width="556" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSnmFbR_J7TGFGmJ1MQQ-05fcFlj_v30kxwi6Sybu9eUERYf1Jt85JqgS8PL7LGOHjB_u1mLys03vNWgEWfqOjuCVd2CPRJCcDSGFxo_l4I3ub925IwRTqmEDwtlunCHu-N62tgoy7mbxUFTHX49vyBayoszoBm2SX6xV786zF6eEYIHMS1Q/s1440/NQDV%2011.tif" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="1080" data-original-width="1440" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSnmFbR_J7TGFGmJ1MQQ-05fcFlj_v30kxwi6Sybu9eUERYf1Jt85JqgS8PL7LGOHjB_u1mLys03vNWgEWfqOjuCVd2CPRJCcDSGFxo_l4I3ub925IwRTqmEDwtlunCHu-N62tgoy7mbxUFTHX49vyBayoszoBm2SX6xV786zF6eEYIHMS1Q/w567-h425/NQDV%2011.tif" width="567" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>KINO SLANG</b>: There's a bit of Straub's biography, not well-known, worth noting around CORNEILLE-BRECHT: in 2008-2009, just before the making of CORNEILLE-BRECHT, I understand that Straub, while crossing the street with his usual energy, was either hit by (or himself actively charged at!) a Vespa around Place Clichy... An accident that required some surgery and kept him in the hospital and at home for some time. Was CORNEILLE-BRECHT made during his recovery? Do you think that the idea to start making films in a few small corners of their Paris apartment, and with miniDV, came about as a result of his confinement after the accident, and considering the loss of Huillet (in October 2006), or were they heading towards this anyhow?</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: CORNEILLE-BRECHT was shot after Jean-Marie's discharge from the hospital. I think he was then fully recovered. I also think that Cornelia Geiser (the main player in CORNEILLE-BRECHT) had long expressed that she would love to work with him on a text, and that during his stay at the hospital he proposed that she work on the two Corneille excerpts and on the Brecht radio play. So they worked on them, and after being back at his place he decided to shoot, with her, that work, without the precise idea of making a film of it. In Jean-Marie's mind, it was an experiment. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">He asked me if I could come shoot with my camera and we shot it over a couple of days in his apartment with Barbara Ulrich there. Jean-Marie told me later that he first asked Jean-Claude Rousseau but then changed his mind; that’s the reason why Jean-Claude is mentioned in the credits. Shortly thereafter we did the editing at Jean-Marie's apartment too. I don’t remember exactly but I don’t think it lasted more than 4-5 days. Barbara Ulrich was there during the editing and Jean-Claude Rousseau came to see, also Philippe Lafosse (who instigated and organized first French DVD edition of the Straubs). </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2D3OZUVkgCf62WJdiTIpRgeIZgeNQ4mtAjDSNV1V9vRhOAWlDR7zMOukGYskhXlE2MsQb8g-zaCPLw17NgGKh0NgQZ01kOpRIUFDV8ey-FhwLoUfo_zHQ8DPMsbdkzRc7SuXqIpBNnayMMytUqrBtjHcwWw0f7la8buASu1KOhw3c21kBA/s908/Screen%20Shot%202022-05-09%20at%2012.32.13%20AM.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="723" data-original-width="908" height="569" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2D3OZUVkgCf62WJdiTIpRgeIZgeNQ4mtAjDSNV1V9vRhOAWlDR7zMOukGYskhXlE2MsQb8g-zaCPLw17NgGKh0NgQZ01kOpRIUFDV8ey-FhwLoUfo_zHQ8DPMsbdkzRc7SuXqIpBNnayMMytUqrBtjHcwWw0f7la8buASu1KOhw3c21kBA/w714-h569/Screen%20Shot%202022-05-09%20at%2012.32.13%20AM.png" width="714" /></span></a></div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">Regarding miniDV or choice of digital for shooting, I think the case of CORNEILLE-BRECHT is a bit special because, as I said, Jean-Marie thought of it at first as an experiment. But for the following films, I think the fact that Danièle was no longer there to manage the whole 35mm process, and all the organization that comes with it, that lead to Jean-Marie's choice of this lighter and much cheaper way to shoot, and to edit. And even if Renato Berta was totally against it (I think he didn't want to use miniDV thinking it was not a prestigious enough format), Jean-Marie imposed the miniDV on UN HÉRITIER (2011) and L’INCONSOLABLE (2011). As we got along well with Straub during the shooting and editing of CORNEILLE-BRECHT, we shot both films with my camera, with me assisting Berta. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>KINO SLANG</b>: Was the Brecht radio play <i>The Trial of Lucullus</i> used in CORNEILLE-BRECHT a text the Straubs had wanted to film for a long time? I believe that was the case with the Kafka parable <i>Schakale und Araber</i>, a text that Huillet translated into French in 1987 for the <i>Cahiers du cinéma </i>(no. 400), and that they may have wanted to film as far back as the 70s, after MOSES UND ARON and their shoot in Egypt. But SCHAKALE UND ARABER was filmed only after Huillet's passing, in 2011, also shot by you in the Paris apartment. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: I don’t think it was an old project. Barbara told me Jean-Marie first proposed to Cornelia to work on the two Corneille excerpts and then remembered Brecht's play. And he asked Martina Muller, Werner Dütsch's partner, (Werner Dütsch helped finance many of the Straubs' films through the German TV channel WDR) to send him the radio version in early 2009.</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><span style="font-family: Arial Narrow; font-size: large;"><br /><b>KINO SLANG</b>: Were there any problems, surprises, or special discoveries during the shoot of CORNEILLE-BRECHT? Was there much discussion about Geiser's recitation of the text, any changes made <i>tout à coup</i>, or was it mostly done in the preliminary work? </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: No particular surprises, no changes and no discussion about Corneila’s recitation––they had worked a long time on it during Jean-Marie's stay at the hospital, so she was perfectly ready.</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><span><b>KINO SLANG</b>: </span>Was there much discussion of the light, the timing for those particular rays of sunlight in the apartment and the placement of the camera?</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: Jean-Marie knew perfectly well where he wanted the camera to be, and at what time of the day he wanted to shoot. After, there is always discussion about what will be in and out of the frame. But it's always a quick discussion. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><span><b>KINO SLANG</b>: </span> And the many wardrobe changes of Geiser?</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: Jean-Marie used to make fun of them in French films. So I think it was a way to push the principle to its limit, make it to become an element of the <i>mise en scène</i> and not only a caprice.</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXFOEeDxExgTkboiuqW-KZN52JCBUd5o6iheCeJkYZMO2LFHind3uVMyNuIkPqiS-orU-phpwpRfgEPOREqi0ptgZYPnE1ysgUUwLdhiPAUK1Oy_1VH0nKfQcJfzKBKQTYvwW2PYCKCZLb6-kPLSzS6thZrInRpNVy9xiWYHMS90FbPCUcQ/s904/Screen%20Shot%202022-05-09%20at%2012.29.49%20AM.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="717" data-original-width="904" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXFOEeDxExgTkboiuqW-KZN52JCBUd5o6iheCeJkYZMO2LFHind3uVMyNuIkPqiS-orU-phpwpRfgEPOREqi0ptgZYPnE1ysgUUwLdhiPAUK1Oy_1VH0nKfQcJfzKBKQTYvwW2PYCKCZLb6-kPLSzS6thZrInRpNVy9xiWYHMS90FbPCUcQ/w660-h524/Screen%20Shot%202022-05-09%20at%2012.29.49%20AM.png" width="660" /></span></a></div><span style="font-family: Arial Narrow; font-size: large;"><br /><span><br /><br /><b>KINO SLANG</b>: Brecht wrote <i>The Trial of Lucullus</i> quickly, in two weeks while in exile in Sweden in 1939, as if out of historical necessity... And later, in 1951, when he and Paul Dessau were working on the East German opera version, <i>The Condemnation of Lucullus</i>, they ran into production delays when the GDR Ministry for Popular Education accused their libretto of formalism and pressed for revisions; Brecht wrote: "<i>i'm against this (delay). the subject is important just at this moment, when the americans are issuing such hysterical threats</i>," referring to Truman ordering American troops into Korea in '50-51 under cover of the U.N., after North Korea's invasion of the South, while General Douglas MacArthur was advocating for the use of atom bombs against Korea. It's clear why we would show CORNEILLE-BRECHT at this particular historical moment (including the very moving ending, about a mother losing her son to a cynical war, to which Brecht was so sensitive, as in MUTTER COURAGE UND IHRE KINDER...), but in 2009 was Straub's use of this text aimed at a particular situation, a particular outrage, or the general one?<br /><br /><br /><b>CLAVERT</b>: From what I know––but perhaps Cornelia Geiser can say more about this––there was at this time no particular situation. But there is always a war going on in the world so Brecht's play is unfortunately always topical. <br /><br /><br /><b>KINO SLANG</b>: I'd like to ask you about the making of SCHAKALE UND ARABER (2011), which is for me a small masterpiece, condensing this massive, world-historical fiction about hatred (from Kafka) into this tiny space and trio of elements. The film seems a more complex shoot than CORNEILLE-BRECHT: three actors (Giorgio Passerone, Barbara Ulrich, and Straub), a very precise division of space and shot relationships, yet still in the minute confines of the apartment, with a lot of exteriorized but very exact emotion in the faces and gestures of the actors. There's even a violent action (besides the speech itself): Passerone's (as "the Arab") boot kicking the scissors... The video is extremely raw; the sun is not sweet but burns the image. The movie isn't beautiful, but shocking, like a Sam Fuller film. Can you describe what the shooting was like?</span></span></div><div><span style="font-size: large;"><span style="font-family: Arial Narrow;"><br /></span></span></div><div><span style="font-size: large;"><span style="font-family: Arial Narrow;"><br /></span></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsjJcEP4hCzo_exKVxuKLH8U54gL25TnjoYlyexzfd08FxQkAjSTgnKMkMzAGM4HzUYbu2psT_zdYlKirCQ8gnuerNT5urerLHU9Zb-7gs_fTbuBmiE_BqkRWgPx8MpegeqywLnoepX0SA0FvdNGJoCy8gG3HjAo6lskflGoaNWjByOLj_oQ/s720/Jackals_and_Arabs_S-881153411-large.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="720" height="559" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsjJcEP4hCzo_exKVxuKLH8U54gL25TnjoYlyexzfd08FxQkAjSTgnKMkMzAGM4HzUYbu2psT_zdYlKirCQ8gnuerNT5urerLHU9Zb-7gs_fTbuBmiE_BqkRWgPx8MpegeqywLnoepX0SA0FvdNGJoCy8gG3HjAo6lskflGoaNWjByOLj_oQ/w702-h559/Jackals_and_Arabs_S-881153411-large.jpeg" width="702" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKmwHBATrGTxjV10kGRjLB4R7zFQfwDICfk2BSaqJNvK5rC8SGFIwxVoPsWBKnWp-20Ujo5doxliltc9R5uHELd_s6H7VOymnnfcZ-oYVBegpfqhIK8V2VmnIE9x5nxdxiUeRSXyrhkYDMLuxrFG0ckH7BFPOSLYx3x0sMC1aPp8A1yLD2WA/s704/schakale%20und%20araber.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="704" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKmwHBATrGTxjV10kGRjLB4R7zFQfwDICfk2BSaqJNvK5rC8SGFIwxVoPsWBKnWp-20Ujo5doxliltc9R5uHELd_s6H7VOymnnfcZ-oYVBegpfqhIK8V2VmnIE9x5nxdxiUeRSXyrhkYDMLuxrFG0ckH7BFPOSLYx3x0sMC1aPp8A1yLD2WA/w586-h426/schakale%20und%20araber.jpg" width="586" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><span><br /><b>CLAVERT</b>: As always, very simple. It was done in a family atmosphere. Arnaud Dommerc was an assistant, as Dimitri Haulet, who did the sound on L’INCONSOLABLE and UN HÉRITIER, was not available. I brought on Jérôme Ayasse (who had just done the sound on my short <a href="https://vimeo.com/122002325" target="_blank">LA FUITE DU JOUR</a> (2011) and went on to work on the following two Straub films) as sound engineer. </span></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">Jean-Marie didn’t want any lighting and the camera placement he asked for, in the dining room of his apartment, went against the light with the building across the street reflecting the sun in the early afternoon. I warned him it would be very raw, but he wanted it like that. (The film has just been restored––I originally captured the miniDV tapes from the camera to do the editing and now I've done it with a professional miniDV video recorder, in RGB, so the image is much better now. In fact we––Olivier Boiscot and I––have restored all of Jean-Marie's miniDV films shot with my camera and I think now the image is much better and beautiful.) It was a four-day shoot––April 22nd, 23rd, 24th and 29th, 2011––plus one day of re-shooting––May 1st!––as the tape from day four had a problem.<br /><br /><br /><b>KINO SLANG</b>: We don't know much about how <a href="https://kinoslang.blogspot.com/2020/04/la-france-contre-les-robots-france.html" target="_blank">LA FRANCE CONTRE LES ROBOTS</a> (2020) came about, how it was made. Can you tell us about that and your work on the film, which was as an actor in this case...</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdEw40Xd72v_YFXck5S5qu5qziTbDunQ_1VOz2HcuO2H8mS4jM3RY8Rj7-WOfr3XA974eNp2ggT3Utcve5WGIdo3TckJ230s6apOATVx-rJECkfEfoajV4N4ok1obWi8lEtc-bvPGB8dmojbjPSebRW_dgmOyeE72QoXkrwwuQguj7Oo1veQ/s1358/vlcsnap-2022-05-09-01h06m48s424.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="1077" data-original-width="1358" height="525" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdEw40Xd72v_YFXck5S5qu5qziTbDunQ_1VOz2HcuO2H8mS4jM3RY8Rj7-WOfr3XA974eNp2ggT3Utcve5WGIdo3TckJ230s6apOATVx-rJECkfEfoajV4N4ok1obWi8lEtc-bvPGB8dmojbjPSebRW_dgmOyeE72QoXkrwwuQguj7Oo1veQ/w662-h525/vlcsnap-2022-05-09-01h06m48s424.png" width="662" /></span></a></div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /><b>CLAVERT</b>: If I remember well, Jean-Marie had been talking about making something with the Bernanos essay (which he knew since his youth) since 2018, after GENS DU LAC. Giorgio Passerone and I began to select some excerpts of the text. First we proposed seven excerpts. Then after talking with Jean-Marie we reduced it to four, on which I began to work. After that I went to Rolle two or three times to rehearse with Jean-Marie and talk about what the images would be with the text. From the beginning he hesitated about the excerpts, wondering if the first one was not enough. Finally, shortly before the shoot he decided that the first excerpt was sufficient. The shooting lasted one afternoon. We made 14 takes. Two of them were quite good with completely different atmospheres. I proposed to make two versions. It finally ended up being one film with the two versions in a row. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE4P3qUTLJ80eeTnyxG5u_cDS3DvGE6vEUBcDAg9G7lwsjtjAxeCg94ys9NwSlb6jyF_R2hd_an83adpk1zgJTAgL-ogBIvUOpzoiokwRtVJ-X3sg_aeJfBUFQBMf9GIspb-Tik9LmE60HVADmNXoL8GbkSVVFkUDFOJdM9SKwZ4AUqfVUpQ/s1358/vlcsnap-2022-05-09-01h10m17s771.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="1080" data-original-width="1358" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE4P3qUTLJ80eeTnyxG5u_cDS3DvGE6vEUBcDAg9G7lwsjtjAxeCg94ys9NwSlb6jyF_R2hd_an83adpk1zgJTAgL-ogBIvUOpzoiokwRtVJ-X3sg_aeJfBUFQBMf9GIspb-Tik9LmE60HVADmNXoL8GbkSVVFkUDFOJdM9SKwZ4AUqfVUpQ/w666-h528/vlcsnap-2022-05-09-01h10m17s771.png" width="666" /></span></a></div><span style="font-family: Arial Narrow; font-size: large;"><br /><span><br /></span></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>KINO SLANG</b>: About LA MADRE (2012)... The filmographies list this movie as having been shot on the Panasonic AG DVX-100, but I was certain when I first saw it that it was shot on a Canon 5D (it was the 5D era), with its shallow depth of field (exceptionally so for a Straub film), and its more aquarelle-like colors. Anyhow the cinematography is astounding, one of the most beautiful of the videos, and with Giovanna Daddi and Dario Marconcini it has the intensity of some of the dialogues in DALLA NUBE ALLA RESISTENZA (1979). Technically, how did you shoot LA MADRE? </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: I don’t know which filmography that is, but it’s obviously a mistake; the film was shot with the Canon 5D MarkII, as are the following films up until KOMMUNISTEN (2014). As to how I did it: I pushed the button! No joke. We only had to put reflectors up to help when it was too dark. And the sun did the rest. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhupCvsZ7NSwFeVEwsnRBmIHpLp_dsCLTX329_4-qZLv_FVpb1m1NJ7AXUYVwuoR0uFtLx6c5dm34kQvXYx4Ftkh-kz7ubukoMHhMLITqJLm4rxAs0aRUO88Pcrvzn5VxtLJtjO14nBjPIVxDb11mgbmz1JPgMuAFHE8FETFUMEWr9mPk_aAw/s1280/La%20madre,%208.9.11.1.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="960" data-original-width="1280" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhupCvsZ7NSwFeVEwsnRBmIHpLp_dsCLTX329_4-qZLv_FVpb1m1NJ7AXUYVwuoR0uFtLx6c5dm34kQvXYx4Ftkh-kz7ubukoMHhMLITqJLm4rxAs0aRUO88Pcrvzn5VxtLJtjO14nBjPIVxDb11mgbmz1JPgMuAFHE8FETFUMEWr9mPk_aAw/w604-h454/La%20madre,%208.9.11.1.jpeg" width="604" /></span></a></div><span style="font-family: Arial Narrow; font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVKEQxhXclGkgdwf7Bezpn0wt07RKjNs8JIcmS8QJlUXS9sUQD-dF3Xa03xRdwOPDT0IUycMMjINtAAD0KDtG5MmRkgNBg3Yt2ISp7vxzDXkrN6pZNH_U1QxT6Pk83F2q8W-UqjuOnwUrqq8mb_m6mK-qz5gS4PKKGgbPmHB-qNpBML7a53w/s1280/La%20madre,%208.9.11.2.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="960" data-original-width="1280" height="557" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVKEQxhXclGkgdwf7Bezpn0wt07RKjNs8JIcmS8QJlUXS9sUQD-dF3Xa03xRdwOPDT0IUycMMjINtAAD0KDtG5MmRkgNBg3Yt2ISp7vxzDXkrN6pZNH_U1QxT6Pk83F2q8W-UqjuOnwUrqq8mb_m6mK-qz5gS4PKKGgbPmHB-qNpBML7a53w/w743-h557/La%20madre,%208.9.11.2.jpeg" width="743" /></span></a></div></div><div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKosM66wD-MF2ghOtd_gGOLyBFf3KebNG0ZIKYSwBQrSXlKveNlPKV-G4Y4463fEVCV3RR1GHkTrp3-vgOzTSjcDOSlIumBzhoyvytgbLjcm9UxaykhQ-4XxtZqdsySwwQqKXN0AgZLnv4EdiRAPBh9qGIIfhF21l6lq8pCUH-AFZnhdeLEw/s957/V12madre03.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><img border="0" data-original-height="714" data-original-width="957" height="644" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKosM66wD-MF2ghOtd_gGOLyBFf3KebNG0ZIKYSwBQrSXlKveNlPKV-G4Y4463fEVCV3RR1GHkTrp3-vgOzTSjcDOSlIumBzhoyvytgbLjcm9UxaykhQ-4XxtZqdsySwwQqKXN0AgZLnv4EdiRAPBh9qGIIfhF21l6lq8pCUH-AFZnhdeLEw/w862-h644/V12madre03.jpeg" width="862" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><span style="font-family: Arial Narrow; font-size: large;"><br /><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVxvmJSEwjO0c8Ppia4_mxvCJse32lGlUw-spWtxxCA60jbEewSQvLzDPqRBTV7JnxNc_8ZGKhH_i_nrpTJXuACH3nh8Yd-DQBFYCodI6wZgL1qq9zjvtcZLLgKnELAFW_ZXm7cUzG5Q7OJ5fn2b7fJ2mAN7kT1nWAQ5eK63NwlrFZzvOrjg/s958/V12madre01b.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="712" data-original-width="958" height="655" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVxvmJSEwjO0c8Ppia4_mxvCJse32lGlUw-spWtxxCA60jbEewSQvLzDPqRBTV7JnxNc_8ZGKhH_i_nrpTJXuACH3nh8Yd-DQBFYCodI6wZgL1qq9zjvtcZLLgKnELAFW_ZXm7cUzG5Q7OJ5fn2b7fJ2mAN7kT1nWAQ5eK63NwlrFZzvOrjg/w880-h655/V12madre01b.jpeg" width="880" /></a></span></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">An anecdote about the shooting of LA MADRE, which was in early September 2011: The film was shot about twenty miles from Buti in a place called Acciaiolo, in Pisa, at Giovanna and Dario's family house. One evening, after the shooting, we were looking at the rushes and the tip of the microphone was showing at the top of one of the shots, then in a second one. Jean-Marie got very angry. The sound engineer Jérôme Ayasse and I made ourselves as small as mice. Jean-Marie calmed down and suddenly, as another take of the shot appeared on the screen, he got angry again and said: but the frame has changed! I said that the frame was the same but the light was different. Jean-Marie said: but if the light changes, the frame changes! It was full of bad faith, but I must admit, the remark was true. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>KINO SLANG</b>: Of the films you did with Straub, which satisfied you the most, or was the greatest experience? If there's anything you'd like to share about the movies we haven't talked about––L'INCONSOLABLE (2011), UNE CONTE DE MICHE DE MONTAIGNE (2013), LA MORT DE VENISE (2013), DIALOGUE D'OMBRES (2013), À PROPOS DE VENISE (2014), KOMMUNISTEN (2014), <a href="https://www.youtube.com/watch?v=Ml6huNPuFjA&ab_channel=mzenom" target="_blank">LA GUERRE D'ALGERIE!</a> (2014), L'AQUARIUM ET LA NATION (2015), GENS DU LAC (2018)––please do... </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><b>CLAVERT</b>: Every shoot was a great experience! The ones I prefer in terms of photography are CORNEILLE-BRECHT, À PROPOS DE VENISE, and L'AQUARIUM ET LA NATION. </span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;">The last thing I can share is about editing. It was always surprising to see that the editing choices––where to start and where to end each shot, and with the structure of the film always there before shooting, from the text––was guided solely by intuition and musicality. There was never any systematism.</span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;">*</span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><i><span style="font-family: Arial Narrow; font-size: large;">CORNEILLE-BRECHT (2009) can be seen on Kino Slang <a href="https://kinoslang.blogspot.com/2022/04/kino-slang-quarantine-presents.html" target="_blank">here</a>. We've extended its run one more week, until May 16, 2022 !</span></i></span></div><div style="text-align: center;"><span style="font-size: large;"><i><span style="font-family: Arial Narrow; font-size: large;"><br /></span></i></span></div><div style="text-align: center;"><span style="font-size: large;"><i><span style="font-family: Arial Narrow; font-size: large;"><br /></span></i></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br class="Apple-interchange-newline" />*</span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: large;"><i>immense merci à Christophe et Barbara </i></span></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: large;"><i><br /></i></span></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: large;"><i><br /></i></span></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: large;"><i><br /></i></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><i>*</i></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div><br /></div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-83345608505299907262022-05-01T00:38:00.001-07:002022-05-01T01:04:52.823-07:00MAY DAY<div><span style="font-family: Arial Narrow; font-size: x-large;"> </span></div><div><span style="font-family: Arial Narrow; font-size: x-large;">for Danièle, and what remains––</span></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
<div style="text-align: center;"><iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="225" src="https://player.vimeo.com/video/705011163?h=40b77979cc" width="300"></iframe></div><p> </p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: right;"><span style="font-family: Arial Narrow; font-size: medium;">––Laughton rehearsing Brecht's LIFE OF GALILEO,</span></p><p style="text-align: right;"><span style="font-family: Arial Narrow; font-size: medium;">in the second "American" version, after Hiroshima</span></p><p style="text-align: right;"><span></span></p><div class="separator" style="clear: both; text-align: right;"><span><br /></span></div><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><span><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span><span style="font-family: Arial Narrow; font-size: x-large;">*</span></span></div><span><br /><br /></span><p></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><div style="color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Past May Day Dedications to </span></div><div style="color: #999999;"><span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><span>Danièle Huillet </span>on <i>Kino Slang</i></span><br /><span style="font-family: "times" , "times new roman" , serif;"><i> *</i></span></span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2007/05/hand-of-julius-caesar-fancy-would-paint.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2007</span></a> - Examine Caesars </span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2008/05/song-of-two-humans-but.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2008</span></a> - Song of Two Humans, But...!</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2009/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2009</span></a> - This Land is Mine</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2010/05/also-commemorating-birthday-of-daniele.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2010</span></a> - Men Without Women</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2011/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2011</span></a> - Freedom</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2012/05/happy-may-day-with-water-for-small.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2012</span></a> - Small Grasses</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2013/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2013</span></a> - That's Just What We Intend</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2014/05/blog-post.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2014</span></a> - The Lizards</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">2015 - (no post - misery)</span></div><div style="background-color: black; color: #999999;"><span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><span style="color: orange;"><a href="http://kinoslang.blogspot.com/2016/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2016</span></a> </span>- Complete Animals</span><br /><span style="font-family: "times" , "times new roman" , serif;"><a href="https://kinoslang.blogspot.com/2017/05/daniele-huillet-at-work.html" target="_blank">2017</a> - Huillet at Work (interview)</span></span></div><div style="background-color: black; color: #999999;"><span style="font-size: large;"><span style="font-family: times, times new roman, serif;"><a href="https://kinoslang.blogspot.com/2017/05/venez-maider-maider-mayday-may-day-may.html" target="_blank">2017</a> - Venez m'aider! (plus Duras on Othon)<br /></span><span style="font-family: "times" , "times new roman" , serif;"><a href="https://kinoslang.blogspot.com/2018/05/straub-huillet-talking-jms-jean-marie.html" target="_blank">2018</a> - Straub/Huillet/Talking (interview)</span><br /><span style="font-family: "times" , "times new roman" , serif;"><a href="https://kinoslang.blogspot.com/2019/05/daniele-huillet-born-may-1st.html" target="_blank">2019</a> - Born May 1st. . .</span></span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="https://kinoslang.blogspot.com/2020/05/this-is-what-i-meant-yesterday-when-i.html" target="_blank">2020</a> - We Caught a Political Conscience like One Catches Chickenpox</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="https://kinoslang.blogspot.com/2021/05/may-night.html" target="_blank">2021</a> - May Night</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div><div><div style="background-color: black; color: #999999;"></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><span style="color: #e4e6eb; font-family: arial; font-size: xx-large; text-align: center;"> *</span></div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-46682804694375271152022-04-10T01:18:00.012-07:002023-05-14T04:08:06.064-07:00<div style="text-align: center;">
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">(Jean-Marie Straub, 2009)</span></div><div style="text-align: left;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">Versions A, B, C</span></div><div style="text-align: left;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjouVo6e4LpihO9zOV97wz_ZGhjGu22E9IPRVkYepk4B2rwirmfN9Xmt3KY9B_Yn3AMNbFacanhr_mhk0LCC5lX3kT5peVZLCVsk5vhs9Oo9PsYGFySMRzy7e6SnpZHqhRob-CXnM-hMu3iZFkSi8UlX7lv9tv9VPuHeZAiTjbaThxe4vu7cQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="719" data-original-width="908" height="501" src="https://blogger.googleusercontent.com/img/a/AVvXsEjouVo6e4LpihO9zOV97wz_ZGhjGu22E9IPRVkYepk4B2rwirmfN9Xmt3KY9B_Yn3AMNbFacanhr_mhk0LCC5lX3kT5peVZLCVsk5vhs9Oo9PsYGFySMRzy7e6SnpZHqhRob-CXnM-hMu3iZFkSi8UlX7lv9tv9VPuHeZAiTjbaThxe4vu7cQ=w632-h501" width="632" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiLJsf-LqpQngfiapsc0iuo-AoSAA0ilHbTaQSIrLADq_4tSFgCwAEhOITgTzrYhYwGv2jLBEsMz30_EaBGFOluBcG8gbZE2fQf_wFnuhXoJTxI91fYJr8apImv3Zx2hLZO4VCZKxX--eT3DDcekYHXtHaxR261gRgnNC72M0Rk9S9pDSTbOQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="720" data-original-width="912" height="499" src="https://blogger.googleusercontent.com/img/a/AVvXsEiLJsf-LqpQngfiapsc0iuo-AoSAA0ilHbTaQSIrLADq_4tSFgCwAEhOITgTzrYhYwGv2jLBEsMz30_EaBGFOluBcG8gbZE2fQf_wFnuhXoJTxI91fYJr8apImv3Zx2hLZO4VCZKxX--eT3DDcekYHXtHaxR261gRgnNC72M0Rk9S9pDSTbOQ=w633-h499" width="633" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhQPvb7i1bdo2ysufkjeNH5wiPq1sYdRn-3r3unN45DUdHCy96Bof29cBbiHy_Hav0YKa8nGIydi5hZHFwpDSLzL4W0n5y-JPLxS4BtZ6mCRE3uOhAjM6h0RbV-lncX63ZJh7jDZo6Y5rD-rqP_Bs4FZjddFDzUgsP9-aTwMC_gBExX2UXkAg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="721" data-original-width="911" height="501" src="https://blogger.googleusercontent.com/img/a/AVvXsEhQPvb7i1bdo2ysufkjeNH5wiPq1sYdRn-3r3unN45DUdHCy96Bof29cBbiHy_Hav0YKa8nGIydi5hZHFwpDSLzL4W0n5y-JPLxS4BtZ6mCRE3uOhAjM6h0RbV-lncX63ZJh7jDZo6Y5rD-rqP_Bs4FZjddFDzUgsP9-aTwMC_gBExX2UXkAg=w631-h501" width="631" /></a></div><br /><br /></span></div><div style="text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">CORNEILLE–BRECHT</span></div></div><div style="text-align: left;"><div style="text-align: left;"><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><span style="color: #cccccc; font-family: "arial narrow"; text-align: left;">2009. </span><span style="color: #cccccc; font-family: "arial narrow"; text-align: left;">Jean-Marie Straub. </span></span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><span style="color: #cccccc; font-family: "arial narrow"; text-align: left;">France, Mini-DV, 4:3, color.</span></span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;">26 minutes x 3 versions, A, B, C; total: 80 minutes.</span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;">(Version C subtitled in English by Misha Donat and Straub)</span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><b>Texts</b>: Pierre Corneille, <i>Horace</i> (1640) and <i>Othon</i> (1664); </span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;">Bertolt Brecht, <i>Das Verhör des Lukullus </i></span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><span style="color: #cccccc; font-family: "arial narrow"; text-align: left;">(<i>The Trial of Lucullus</i>), </span><span style="color: #cccccc; font-family: "arial narrow"; text-align: left;">radio-play, </span><span style="color: #cccccc; font-family: "arial narrow"; text-align: left;">1939-40. </span></span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><b>Production</b>: July 2009, Straub's Paris apartment.</span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><b>Acknowledgment</b>: Jean-Claude Rousseau, Barbara Ulrich.</span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><b>Image</b>: Christophe Clavert (Panasonic AG DVX-100)</span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><b>Cast</b>: Cornelia Geiser </span></div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><br /><br /></span></div></div></div></div></div></div><p><br /></p><p> </p><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">SYNOPSIS</span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">In leaps of physical color and sound, Cornelia Geiser recites verses from two of Pierre Corneille’s Roman plays, <i>Horace</i> and <i>Othon </i>("As for the school of dialectics, well, Corneille is nevertheless the greatest..." said Straub), followed by verses from Bertolt Brecht’s 1939 radio play <i>The Trial of Lucullus</i>, a powerful recitative on war-crimes in fourteen short pieces (never broadcast; later turned into an opera by Brecht and Paul Dessau in East Germany). </span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">In the <i>Lucullus </i>play, which Brecht said at the time "more or less reaches the limit of what can be said" in oppressive times, a Roman General is summoned to the netherworld to stand trial for the crimes and sufferings he has inflicted on the common people and slaves. A giant frieze is hauled in and analyzed for the variety of life seen plundered there. </span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="font-size: large;"><span style="color: #cccccc; font-family: Arial Narrow;">Across centuries of Western civilization, Straub and Geiser bridge these texts of different epochs and––</span><span style="color: #cccccc; font-family: "Arial Narrow";">in a single corner of a small Parisian apartment––</span><span style="color: #cccccc; font-family: "Arial Narrow";">confront the barbarous rulers of ancient Rome, the kings of 17th-century France, the fascists of Europe in the 1930s and 1940s, and, by implication, those in power today. </span></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">Cumulatively, it is not the rulers who are the main characters here, but the collective judgement of the oppressed upon the oppressor. </span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">*</span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">"'Maybe it's not even a movie,' Straub wondered aloud during a post-screening talk on one of his later videos, CORNEILLE-BRECHT (2009). As a continuation of a 'search for degree zero' (Luc Moullet’s phrase, from <a href="https://mubi.com/notebook/posts/the-reader-collaborates-with-the-author-in-every-book-some-words-about-straub-huillet" target="_blank">a recent appreciation</a>) indeed this movie is 'just' a woman, Cornelia Geiser, reading a text frontally to the camera in the same corner of Straub's Parisian apartment (once Huillet's mother's) that we will see several times in our program. But the words and their drama and intonation invoke massive friezes, ultimate judgments, conflagrations, the 'collective hate' of Rome, 'the sole object of my resentment' (Corneille; the words in French, '<i>Rome, l'unique objet de mon ressentiment</i>'' will ring in the ears of anyone who sees all three versions of CORNEILLE-BRECHT in succession, as it was meant to be seen), then goes down even deeper (with a Brecht radio play), down to a Hades where a trial for war crimes is taking place against an imperialist, perhaps the same imperialist, perhaps any imperialist. It would be foolish to call this picture minimalist, for even if its sound were turned off one could be fascinated by the changes of color in wardrobe and sunlight, here effected by jump cuts––yet another cinematographic vein Straub has tapped for both sudden and gradual excitation. Fascination, magic, and belief are part of Straub-Huillet's cinema too, occurring amid their total opposite––analysis, critical faculty, and errant thought––and back again. One may feel upon leaving the theater a sharpening of the senses." </span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: right;"><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">––Excerpt from the Introduction to </span></div><div style="text-align: right;"><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">"<a href="https://kinoslang.blogspot.com/2017/02/blog-post_20.html" target="_blank">There is No Ice that Lasts</a>",</span></div><div style="text-align: right;"><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">Huillet/Straub series at t</span><span style="font-size: large;"><span style="color: #cccccc; font-family: "Arial Narrow";">he Bijou Theater (CalArts), 2017 </span></span></div><div style="text-align: right;"><span style="font-size: large;"><span style="color: #cccccc; font-family: Arial Narrow;">programmed by </span><span style="color: #cccccc; font-family: "Arial Narrow";">Andy Rector and Mark Bogle</span></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div><div style="text-align: center;"><span style="color: #cccccc; font-family: "Arial Narrow"; font-size: large;">*</span></div><div style="text-align: center;"><span style="color: #cccccc; font-family: "Arial Narrow"; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div></div></div></div></div></div></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><i style="font-family: "Arial Narrow";">This is the premiere showing of a new 1080p copy of</i></span><span style="text-align: left;"> </span></div></div></div></div></div></div></span></div></div></div></div></div></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><i style="font-family: "Arial Narrow";">CORNEILLE–BRECHT from the original miniDV source. </i></span></div></div></div></div></div></div></span></div></div></div></div></div></div></div></blockquote><p><span style="font-size: large;"> </span></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><i style="font-family: "Arial Narrow";">The movie will be available for viewing here at</i></span><span style="text-align: left;"> </span></div></div></div></div></div></div></span></div></div></div></div></div></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div><div style="margin: 0px; text-align: center;"><span style="font-size: large;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div><div style="margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><i style="font-family: "Arial Narrow";">Kino Slang through <strike> May 10, 2022 ></strike> </i></span><i style="color: #cccccc; font-family: "Arial Narrow"; text-align: left;">May 16, 2022 (run extended!).</i></div></div></div></div></div></div></span></div></div></div></div></div></div></div></blockquote><p><span style="font-size: large;"> </span></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div style="margin: 0px; text-align: center;"><span style="font-size: large;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><i style="font-family: "Arial Narrow";">We present all three versions of CORNEILLE-BRECHT–– </i></span><i style="color: #cccccc; font-family: "Arial Narrow"; text-align: left;">A, B, and C</i><i style="color: #cccccc; font-family: "Arial Narrow"; text-align: left;">.</i><span style="text-align: left;"> </span></div></div></div></div></div></span></div></div></div></div></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div style="margin: 0px; text-align: center;"><span style="font-size: large;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="margin: 0px; text-align: center;"><i style="color: #cccccc; font-family: "Arial Narrow"; text-align: left;">Only C is subtitled (in English). Past screenings have often presented all three versions together, one after the other, with only one version subtitled. </i></div></div></div></div></div></span></div></div></div></div></div></div></blockquote><p><span style="font-size: large;"> </span></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><i style="font-family: "Arial Narrow";">Further articles on CORNEILLE-BRECHT and an <a href="https://kinoslang.blogspot.com/2022/05/interview-with-christophe-clavert-by.html" target="_blank">Interview with </a></i></span><i style="color: #cccccc; font-family: "Arial Narrow"; text-align: left;"><a href="https://kinoslang.blogspot.com/2022/05/interview-with-christophe-clavert-by.html" target="_blank">Christophe Clavert</a> (</i><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><i style="font-family: "Arial Narrow";">cinematographer of eleven of Straub's digital video films, collaborator, and actor in LA FRANCE CONTRE LES ROBOTS) are to come.</i></span><span style="text-align: left;"> </span><span style="text-align: left;"> </span></div></div></div></div></div></div></span></div></div></div></div></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="text-align: left;"> </span></div></div></div></div></div></div></span></div></div></div></div></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div><div style="font-family: times; margin: 0px; text-align: center;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;"><i style="font-family: "Arial Narrow";">For now, the film...</i></span></div></div></div></div></div></div></span></div></div></div></div></div></div></div></blockquote><p><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><i style="color: #cccccc; font-family: "Arial Narrow"; text-align: left;"> ... </i><i style="color: #cccccc; font-family: "Arial Narrow"; text-align: left;"><span><a href="https://kinoslang.blogspot.com/2022/04/corneille-brecht-a.html" target="_blank">HERE</a></span></i></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjpylFFO79WT01jo1AamLX2ELxfZ_kSuKzO4c-PDP3wqdhShALehMKDWB8Q_q-3Bu16UMsxPj5DLEaT9NBwBYpnL2NmfYCP6hZlGquHaFwPrahOOCUrSZl-1NHinZaSnfEptDcyU7GKvRlF4pAknL2wqGCIIo-Dy5Xc3TA2aMX7f8X-AEkW4w" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="323" data-original-width="400" height="443" src="https://blogger.googleusercontent.com/img/a/AVvXsEjpylFFO79WT01jo1AamLX2ELxfZ_kSuKzO4c-PDP3wqdhShALehMKDWB8Q_q-3Bu16UMsxPj5DLEaT9NBwBYpnL2NmfYCP6hZlGquHaFwPrahOOCUrSZl-1NHinZaSnfEptDcyU7GKvRlF4pAknL2wqGCIIo-Dy5Xc3TA2aMX7f8X-AEkW4w=w548-h443" width="548" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;">*</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;"><span style="color: #cccccc; font-family: Arial Narrow;">With huge thanks to Jean-Marie Straub, Barbara Ulrich, and Christophe Clavert, who offer this movie to us today with the words: </span><span style="color: #cccccc; font-family: "Arial Narrow";">"</span><i style="color: #cccccc; font-family: "Arial Narrow";">Ce serait notre commentaire à la situation politique actuelle.</i><span style="color: #cccccc; font-family: "Arial Narrow";">"</span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: #cccccc; font-family: Arial Narrow; font-size: large;">Further thanks to Olivier Boischot, Ryan Krivoshey, Ricardo Matos Cabo, and Nora Sweeney.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;">*</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: #cccccc;"><span style="font-size: large;"><span style="font-family: times;"><i style="font-family: "Arial Narrow";">This Kino Slang </i></span><span style="font-family: Arial Narrow;"><i>presentation of films online is a continuation of what began during lockdown and quarantine in 2020 with the world premiere of <a href="https://kinoslang.blogspot.com/2020/04/quarantine-during-worldwide-quarantine.html" target="_blank">LA FRANCE CONTRE LES ROBOTS</a> (Straub, 2020) followed by <a href="https://kinoslang.blogspot.com/2020/04/kino-slang-quarantine-presents-cela.html" target="_blank">a Godard/Buñuel program</a> of the short "What's Wrong with the World?" (1996) and IT'S CALLED THE DAWN (1955).</i></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: #cccccc;"><span style="font-family: Arial Narrow; font-size: large;"><i><br /></i></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;"><span style="color: #cccccc;"><span style="font-family: Arial Narrow;"><i>The time in between has been a difficult one, including the loss of our venue for physical cinema screenings, the Echo Park Film Center in Los Angeles, where from 2017-2020 we projected double-bills and shorts programs </i></span></span><i style="color: #cccccc; font-family: "Arial Narrow";">of Maurice Tourneur, Jean-Luc Godard, Boris Barnet, Jerry Lewis, Alfred Hitchcock, Edgar G. Ulmer, Pedro Costa, Jacques Tourneur, Aleksandr Dovzhenko, Charlie Chaplin, Jean Renoir, Luis Buñuel, João César Monteiro, Esfir Shub, Joris Ivens, Pier Paolo Pasolini, Carl Dreyer, and Yasujiro Ozu.</i><span style="color: #cccccc;"><span style="font-family: Arial Narrow;"><i> </i></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><i style="color: #cccccc; font-family: "Arial Narrow";"><span style="font-size: large;"><br /></span></i></div><div class="separator" style="clear: both; text-align: left;"><i style="color: #cccccc; font-family: "Arial Narrow";"><span style="font-size: large;">We now continue, and keep the name "quarantine" for those still confined.</span></i></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><br /><div style="text-align: center;"> *</div><p></p><p> </p><p style="text-align: center;"> </p><div style="text-align: center;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div style="text-align: left;"><div style="font-family: times; margin: 0px; text-align: center;"><span style="font-size: large;"><div style="font-family: Times; font-size: medium;"><div style="text-align: right;"><div style="text-align: center;"><div style="text-align: left;"><div><div></div></div></div></div></div></div></span></div>
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</div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-81842784673349223962022-04-10T01:09:00.007-07:002023-10-04T05:20:39.938-07:00<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZP9ni-TSycaDElI6rDn-DgVI65vyEPLz2gS7sugLal4sLTa9GFkN2_XAKtUxPjbvZ0Z8Qrg-VIr6aFFGrboJg9ACM5TxHe-NImABiAd2715BwNqBtoMOvKcUoHm5cO7ZaH01q7dWYvw1PK46LSUry8KJ0eKU0_BLq9FmMTrF0WWaqOAt-Dg/s919/Screen%20Shot%202022-05-17%20at%2012.34.01%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="733" data-original-width="919" height="663" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZP9ni-TSycaDElI6rDn-DgVI65vyEPLz2gS7sugLal4sLTa9GFkN2_XAKtUxPjbvZ0Z8Qrg-VIr6aFFGrboJg9ACM5TxHe-NImABiAd2715BwNqBtoMOvKcUoHm5cO7ZaH01q7dWYvw1PK46LSUry8KJ0eKU0_BLq9FmMTrF0WWaqOAt-Dg/w831-h663/Screen%20Shot%202022-05-17%20at%2012.34.01%20PM.png" width="831" /></a></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ0IyB-3Hg_oW38QWb1thjLnmsFH-mw1IByKVUpkyjAFOR8PN9Niv5AShjayW_fwYa-FujnAulmYeR6Y3wos-eYmoqo26Hjg9RHq9MQSFkeJk7b9vnuKFYz_qbsGyf5-4vpmAroZxKIgJHjqjqw5sP58cGa6OuSq2ZFEcjG1Ht-mupkLHfeg/s919/Screen%20Shot%202022-05-17%20at%2012.35.55%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="919" height="662" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ0IyB-3Hg_oW38QWb1thjLnmsFH-mw1IByKVUpkyjAFOR8PN9Niv5AShjayW_fwYa-FujnAulmYeR6Y3wos-eYmoqo26Hjg9RHq9MQSFkeJk7b9vnuKFYz_qbsGyf5-4vpmAroZxKIgJHjqjqw5sP58cGa6OuSq2ZFEcjG1Ht-mupkLHfeg/w830-h662/Screen%20Shot%202022-05-17%20at%2012.35.55%20PM.png" width="830" /></a></div><div><br /></div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxGLXqFFErEO79BwESTqDlTdM-VHTs-TgPsyWhtfLEZnmojQn-1o48jV17UInSnvojAolRuhbsz6M5b6DvhtFzgpxl7Nazs11YifCoOA70d2qL6NfngqnWoLp8t9PN7A7hN5giGa-pf-yVb5_JKrgzzMStluTVBT4PRbMx8yM_l4eMeULRw/s961/Screen%20Shot%202022-05-17%20at%2012.39.19%20PM.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="729" data-original-width="961" height="629" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxGLXqFFErEO79BwESTqDlTdM-VHTs-TgPsyWhtfLEZnmojQn-1o48jV17UInSnvojAolRuhbsz6M5b6DvhtFzgpxl7Nazs11YifCoOA70d2qL6NfngqnWoLp8t9PN7A7hN5giGa-pf-yVb5_JKrgzzMStluTVBT4PRbMx8yM_l4eMeULRw/w829-h629/Screen%20Shot%202022-05-17%20at%2012.39.19%20PM.png" width="829" /></a></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZWNsOytowRV1ck5evIHPBafCz7WIZgPOHZ8yxUVihyMA2p_9YU_JO8gHDDSsYdSa35EN-vGdULXT2XQPwD37ykD0vQfYFOA6Fyy_qDHtCmQqHuuENcfpHW1K_fZmMIWq79kmaqGaSGYzfjI7j8NTzJ_m0hMvaOYa_bgR1bLuEiU5FvsIJJw/s959/Screen%20Shot%202022-05-17%20at%2012.38.50%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="734" data-original-width="959" height="635" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZWNsOytowRV1ck5evIHPBafCz7WIZgPOHZ8yxUVihyMA2p_9YU_JO8gHDDSsYdSa35EN-vGdULXT2XQPwD37ykD0vQfYFOA6Fyy_qDHtCmQqHuuENcfpHW1K_fZmMIWq79kmaqGaSGYzfjI7j8NTzJ_m0hMvaOYa_bgR1bLuEiU5FvsIJJw/w830-h635/Screen%20Shot%202022-05-17%20at%2012.38.50%20PM.png" width="830" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><span style="font-family: Arial Narrow;"><br /></span></div><div><span style="font-family: Arial Narrow;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;">*</span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow;"><span style="font-size: x-large;">CORNEILLE-BRECHT </span></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: x-large;"><span>(Straub, 2009. V</span>ersions A, B, C )</span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;"><span style="font-family: Arial Narrow;">ran here </span><span style="font-family: "Arial Narrow";">from April 10th - May 16th, 2022</span></span></div><div style="text-align: center;"><span style="font-size: x-large;"><span style="font-family: "Arial Narrow";">If you are interested in seeing this film, contact me</span></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;">*</span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;">See our brief program note <a href="https://kinoslang.blogspot.com/2022/04/kino-slang-quarantine-presents.html" target="_blank">here</a></span></div><div style="text-align: center;">+</div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: large;">Our interview with cinematographer Christophe Clavert <a href="https://kinoslang.blogspot.com/2022/05/interview-with-christophe-clavert-by.html" target="_blank">here</a></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><br /></div><div><span style="font-family: Arial Narrow; font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3a2kzREGaxyIE7drOyxTwmSdTkwYj-k64tr8IpQ3bHgH7uecDXx2sFcy8Em3fYOC-PEJr2ME5gvUa90uuLGf6qzOCoNGM3itVKXQczs2UNjcfwVkjywcwOfidSV3kQp39E73mCdschRzsVpv0nhi_fhpl96J1uOV0wT72v8taQRxSjt4Npw/s653/Screen%20Shot%202022-05-17%20at%2012.19.42%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="653" height="621" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3a2kzREGaxyIE7drOyxTwmSdTkwYj-k64tr8IpQ3bHgH7uecDXx2sFcy8Em3fYOC-PEJr2ME5gvUa90uuLGf6qzOCoNGM3itVKXQczs2UNjcfwVkjywcwOfidSV3kQp39E73mCdschRzsVpv0nhi_fhpl96J1uOV0wT72v8taQRxSjt4Npw/w772-h621/Screen%20Shot%202022-05-17%20at%2012.19.42%20PM.png" width="772" /></a></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi4fgm92AXr_6zkBekGs8I68nn0-c8DqlcRxLOHFxXh4ws-zh_gphZ9phS-THcy8x9S8bNyLioP8rPJ25iQeNL0JE-D3dlbrKfw9QLrcPnt224jPxm-BNvfvxaVQMRnNBfRI2ADBt5XmV7z80ZuQVZydjk6gB6uI8GNhxuQ-HMnl5_XgpBSA/s677/Screen%20Shot%202022-05-17%20at%2012.20.01%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="531" data-original-width="677" height="631" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi4fgm92AXr_6zkBekGs8I68nn0-c8DqlcRxLOHFxXh4ws-zh_gphZ9phS-THcy8x9S8bNyLioP8rPJ25iQeNL0JE-D3dlbrKfw9QLrcPnt224jPxm-BNvfvxaVQMRnNBfRI2ADBt5XmV7z80ZuQVZydjk6gB6uI8GNhxuQ-HMnl5_XgpBSA/w805-h631/Screen%20Shot%202022-05-17%20at%2012.20.01%20PM.png" width="805" /></a></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS3liWdirkycEp4uAWktYHJY-8YLnY_1W75_aCifByvbKuRW8GrmEBeEi45YrefGaWDAFHzr4mahiBlti3ED3BPqNgOT0SgNml40QDXrSI02BZcJXbdN4hsIiKtS6iMeVUunPXOsn53L-gxQGcCaBOq4dLmCCKR6yinjAc8B5cIurCMhnNWw/s691/Screen%20Shot%202022-05-17%20at%2012.20.13%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="537" data-original-width="691" height="637" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS3liWdirkycEp4uAWktYHJY-8YLnY_1W75_aCifByvbKuRW8GrmEBeEi45YrefGaWDAFHzr4mahiBlti3ED3BPqNgOT0SgNml40QDXrSI02BZcJXbdN4hsIiKtS6iMeVUunPXOsn53L-gxQGcCaBOq4dLmCCKR6yinjAc8B5cIurCMhnNWw/w819-h637/Screen%20Shot%202022-05-17%20at%2012.20.13%20PM.png" width="819" /></a></div><div><br /></div></div><br class="Apple-interchange-newline" /><span style="font-size: x-large; text-align: center;">*</span>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-28013596895721432622022-03-19T17:11:00.002-07:002022-05-24T12:01:56.300-07:00<p></p><div class="separator" style="clear: both; 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float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="1666" data-original-width="2633" height="372" src="https://blogger.googleusercontent.com/img/a/AVvXsEhEUh6ziDOHyBan42aClEhZ9cJP9n7LCcyoshMgLsz000ejD05TxKq3sn8vc3qh3i8erhhzBNkAunoGN-V6D0UyOQiSxEt3gZBL5jWSXFWOsVh-H-FaDyfwL5Afop8Aa-EW9Z60znqFV_RcNcHxG7yDKBzhy7zkwgGQqB-9dO8t9fuhsTOq7A=w590-h372" width="590" /></a></div></div> <p></p>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com1tag:blogger.com,1999:blog-18252740.post-80059838934510875162022-01-31T15:04:00.003-08:002022-01-31T16:18:48.949-08:00<div><span style="font-size: x-large;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh_gZMQhznPfsRmrfbpN0ZgOvt3uIjndyvKYwRMRF2fJWITXDRfdqHq0dueH0oEyHo0X91ozEPojrIOIBIlqrosA-2aUtaMNfYf88zA3cwfaq_fj_4u8LPc-IU7jjT1hph05FV/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1158" data-original-width="1617" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh_gZMQhznPfsRmrfbpN0ZgOvt3uIjndyvKYwRMRF2fJWITXDRfdqHq0dueH0oEyHo0X91ozEPojrIOIBIlqrosA-2aUtaMNfYf88zA3cwfaq_fj_4u8LPc-IU7jjT1hph05FV/w676-h484/la+clef+facade.jpeg" width="676" /></a></div><br /><br /></span></div><div style="text-align: center;"><b style="color: #cccccc; font-family: "arial narrow", sans-serif; white-space: pre-wrap;"><span style="font-size: x-large;">KINO SLANG wholeheartedly </span></b></div><div style="text-align: center;"><b style="color: #cccccc; font-family: "arial narrow", sans-serif; white-space: pre-wrap;"><span style="font-size: x-large;">supports LA CLEF REVIVAL !</span></b></div><div></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: Arial Narrow; font-size: x-large;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMqnRirky1lJ-pENQtLdtLliwxgTNZnjIJ7ZqAR6cDVxtciALS2Rmbd7LsxNwgmli2VciZpVgsr1iAXxmks5l_bjzkfwdZQY16817MK712L0E-WBofX2cu_XJKdctU596HhfT7/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="455" data-original-width="988" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMqnRirky1lJ-pENQtLdtLliwxgTNZnjIJ7ZqAR6cDVxtciALS2Rmbd7LsxNwgmli2VciZpVgsr1iAXxmks5l_bjzkfwdZQY16817MK712L0E-WBofX2cu_XJKdctU596HhfT7/w814-h374/Screen+Shot+2022-01-28+at+1.35.51+PM+copy.png" width="814" /></a></div><br /><br /></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;"><span style="font-family: Arial Narrow;">The ongoing story of LA CLEF REVIVAL––the last association-run cinema in Paris and the only one established by peoples' occupation and support rather than economic or institutional acquisition or absorption––has not been reported in the Anglo-American press. For the backstory in English see the excellent <a href="https://www.filmsinframe.com/en/editorial/cinema-la-clef/" target="_blank">guide to </a></span><span style="font-family: Arial Narrow;"><a href="https://www.filmsinframe.com/en/editorial/cinema-la-clef/" target="_blank">Cinéma LA CLEF</a> </span><span style="font-family: "Arial Narrow";">by Flavia Dima, writing for the Romanian film magazine <i>Films in Frame.</i></span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div><span style="font-size: x-large;"><span style="font-family: "Arial Narrow";">Below is an English translation of </span><span style="font-family: "Arial Narrow";">LA CLEF REVIVAL's recent platform statement on what they've achieved in the last two years as a cinema, and on their scheduled eviction, an eviction that they, by all means, are set to resist. Following that is </span><span style="font-family: "Arial Narrow";">a statement of support and admiration for LA CLEF REVIVAL by KINO SLANG.</span></span></div><div><br /></div><div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div><span style="font-size: x-large;"><span style="font-family: "Arial Narrow";">The</span><span style="font-family: "Arial Narrow";"> complexities of French law––including a Mayoral reprieve half-supporting LA CLEF, and the "Sueur" law which protects community-run cinemas––may have</span><span style="font-family: Arial Narrow;"> helped delay the invasion of LA CLEF REVIVAL by the police and the buyers of the property, who in unison consider LA CLEF's occupation an illegal "squat". But those French complexities have now given way to a situation much more familiar, brute, and outrageous the world over: the legal, organized barbarism of an eviction. The ransacking of a non-profit neighborhood cinema, LA CLEF and its occupants, by a billionaire group </span><span style="font-family: "Arial Narrow";">in the name of nothing but the dictatorship of money. </span></span></div><div><span style="font-size: x-large;"><span style="font-family: "Arial Narrow";"><br /></span></span></div><div><span style="font-size: x-large;"><u style="font-family: "Arial Narrow";">LA CLEF REVIVAL IS DUE TO BE EVICTED TOMORROW, FEBRUARY 1st</u><span style="font-family: "Arial Narrow";">. They are being ordered to vacate by the police TODAY, January 31st. </span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;">Nevertheless, courage from <a href="https://www.facebook.com/laclefrevival" target="_blank">LA CLEF's FB</a> dispatch this morning:</span></span></div><div><span style="font-family: "Arial Narrow";"><span style="color: #cccccc; font-size: x-large;"><br /><br /></span></span></div></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><div><div style="text-align: center;"><span style="color: #cccccc; font-size: x-large;"><span style="font-family: "Arial Narrow";"><i>THE DOORS ARE OPEN</i></span> </span></div></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><div><div style="text-align: center;"><span style="font-family: "Arial Narrow";"><i><span style="color: #cccccc; font-size: x-large;">AT LA CLEF REVIVAL </span></i></span></div></div></div><div><div><div style="text-align: center;"><span style="color: #cccccc; font-size: x-large;"><span style="font-family: "Arial Narrow";"><i>EVICTION IMMINENT! </i></span> </span></div></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><div><div style="text-align: center;"><span style="color: #cccccc; font-size: x-large;"> </span></div></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><div><div><span style="font-family: "Arial Narrow";"><i><span style="color: #cccccc; font-size: x-large;">The collective which has occupied the LA CLEF cinema for more than two years has until January 31 to leave the premises. Faced with this threat, we do not intend to give up or put the key (la clef) under the door! WE NEED YOUR SUPPORT! The doors of LA CLEF will be open all week to those who are concerned. The future of cinema!</span></i></span></div></div></div></blockquote><span style="color: #cccccc; font-family: Arial Narrow; font-size: x-large;"><br /></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: center;"><span style="color: #cccccc; font-size: x-large;"><i><span style="font-family: Arial Narrow;">MOBILIZATION CONTINUES THIS WEEK!</span></i></span><span style="text-align: left;"> </span></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: center;"> </blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: center;"><span style="color: #cccccc;"><br /></span></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="color: #cccccc;"><i><span style="font-size: x-large;"><span style="font-family: Arial Narrow;"></span><span style="font-family: Arial Narrow;">The police department ordered us to leave the premises of LA CLEF today at the latest. Starting tomorrow at 6am, we will be more expelled than ever!<br /></span><span style="font-family: Arial Narrow;">KEEP SUPPORTING US!</span></span></i> </span></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="color: #cccccc;"> </span></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="color: #cccccc;"><i><span style="font-family: Arial Narrow; font-size: x-large;">- Today, at 3:30 PM: WANG BING will be present after the screening of his film THE MAN WITH NO NAME !</span></i> </span></blockquote></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="color: #cccccc;"> </span></blockquote></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><i><span style="color: #cccccc; font-family: Arial Narrow; font-size: x-large;">- Tonight at 8:30 pm: CARTE BLANCHE LEOS CARAX: UNE CHAMBRE EN VILLE (1982) by Jacques Demy, followed by an exchange with Leos Carax!</span></i></blockquote></blockquote><span style="color: #cccccc; font-family: Arial Narrow; font-size: x-large;"><i><br /></i></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="color: #cccccc; font-family: Arial Narrow; font-size: x-large;"><i>AND TOMORROW, TUESDAY, we invite all our supporters to come and occupy LA CLEF beginning at 6 am. We will welcome you inside the cinema with coffee, croissants and surprise screenings, in accordance with health measures. COME IN NUMBERS. YES! </i></span></blockquote><span style="font-family: Arial Narrow; font-size: x-large;"><span style="color: #38761d;"><br /></span><br />To support LA CLEF REVIVAL from afar there is a <a href="https://www.change.org/p/pr%C3%A9servation-du-cin%C3%A9ma-associatif-ind%C3%A9pendant-la-clef" target="_blank">petition here</a>. When I know of other ways of support, I will post them. You can follow LA CLEF REVIVAL via their <a href="https://laclefrevival.com/" target="_blank">main website</a>, or via social media: <a href="https://www.facebook.com/laclefrevival" target="_blank">FB</a>, <a href="https://twitter.com/laclefrevival" target="_blank">Twitt</a>, <a href="https://www.instagram.com/laclefrevival/" target="_blank">Insta</a>; they post across all of them with gusto. Last night Frederick Wiseman was there with JUVENILE COURT. Today Wang Bing and Leos Carax. Tomorrow, day of eviction, Valerie Massadian's NANA and GO FISH by Rose Troche. . .</span><div><div><span style="font-family: Arial Narrow; font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;"><span style="font-family: Arial Narrow;">At the 11th hour, which is now, let's be aware of their situation, make it known we are aware and in support of </span><span style="font-family: "Arial Narrow";">LA CLEF REVIVAL and their occupation, and against their eviction, and all evictions like it, and against the compromising of uncompromising cinemas.</span></span></div><div><span style="font-family: Arial Narrow;"><div class="separator" style="clear: both; font-size: xx-large; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZRo2Z9lFU1oW2b3rOgNXud49ufEQufUzLkv8vll7RGHfpfIh0WjPtkIuZ-UNkDbdPH0KwHPXRaZPB0IqJnkypkCkMNUaz88u2LbvyXXO9hED_XM_CWMuDsIc4NkUZf6o5cW_g/" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><img alt="" data-original-height="2048" data-original-width="1365" height="623" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZRo2Z9lFU1oW2b3rOgNXud49ufEQufUzLkv8vll7RGHfpfIh0WjPtkIuZ-UNkDbdPH0KwHPXRaZPB0IqJnkypkCkMNUaz88u2LbvyXXO9hED_XM_CWMuDsIc4NkUZf6o5cW_g/w415-h623/la+clef+bleu.jpeg" width="415" /></a></div><div class="separator" style="clear: both; font-size: xx-large; text-align: center;"><br /></div><div class="separator" style="clear: both; font-size: xx-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_BvW_vPNLxC8OaJY4rj-kWTAjzutD_RU9EMBk-7asNKGjUEpbRus_wSHx5eqoqAQaf2kV0zOu5eYzTwqldwLm_ySOYxVsUltngEKsl4Y7ziQMdJDjNQbN8rjYz7S0aygnW8bb/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1343" data-original-width="1894" height="639" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_BvW_vPNLxC8OaJY4rj-kWTAjzutD_RU9EMBk-7asNKGjUEpbRus_wSHx5eqoqAQaf2kV0zOu5eYzTwqldwLm_ySOYxVsUltngEKsl4Y7ziQMdJDjNQbN8rjYz7S0aygnW8bb/w902-h639/clef+ext+facade+contagieuses.jpeg" width="902" /></a></div><i><span style="font-size: large;">Struggles are </span></i></span></div><div><span style="font-family: Arial Narrow;"><i><span style="font-size: large;">contagious too</span></i></span></div><div><span style="font-family: Arial Narrow;"><div style="font-size: xx-large; text-align: right;"><br /></div></span><span style="font-family: Arial Narrow; font-size: large;"><div style="text-align: right;">«What consoles me, anyway, </div><div style="text-align: right;">is knowing that there is </div><div style="text-align: right;">always somewhere </div><div style="text-align: right;">in the world, at any time––</div><div style="text-align: right;">when it stops in Tokyo </div><div style="text-align: right;">it starts again in New York, </div><div style="text-align: right;">in Moscow, in Paris, </div><div style="text-align: right;">in Caracas––there is always, </div><div style="text-align: right;">I say, a little monotonous noise, </div><div style="text-align: right;">but intransigent in its monotony, </div><div style="text-align: right;">and this noise is that of </div><div style="text-align: right;">a projector projecting a film. </div><div style="text-align: right;">Our duty is that this noise never stops.»</div></span><span style="font-family: Arial Narrow;"><div style="text-align: right;"><span style="font-size: large;">Godard to Langlois </span></div></span><span style="font-family: Arial Narrow; 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text-align: right;">one hundred children waiting for a train</div><div class="separator" style="clear: both; text-align: right;">the man with no name</div><div class="separator" style="clear: both; text-align: right;">black liberation</div><div class="separator" style="clear: both; text-align: right;"><br /></div><div class="separator" style="clear: both; text-align: right;"><br /></div><div class="separator" style="clear: both; text-align: right;"><br /></div><div class="separator" style="clear: both; text-align: right;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial Narrow; font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3T0lvZqERZxZ4Orq5JRq6cnoiLKcOB6v-YqAOtCQa0WjstK8smZpm_mxbFDWjn99lI9GYcX27OyxY3bIxIkYy831veOxksXSZsco5J7YOiRwdz-C4BvQt3uAGgTWDfKUn2B1D/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1672" data-original-width="1161" height="810" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3T0lvZqERZxZ4Orq5JRq6cnoiLKcOB6v-YqAOtCQa0WjstK8smZpm_mxbFDWjn99lI9GYcX27OyxY3bIxIkYy831veOxksXSZsco5J7YOiRwdz-C4BvQt3uAGgTWDfKUn2B1D/w564-h810/la+clef+under+the+door.jpeg" width="564" /></a></span></div><span style="font-family: Arial Narrow;"><div style="font-size: x-large;"><span style="font-family: Arial Narrow; font-size: large;"><br /></span></div><span style="font-size: large;">We Will Not Put </span></span><span style="font-size: large;"><span style="font-family: "Arial Narrow";">the Key </span><span style="font-family: "Arial Narrow";">Under the Door</span></span></div><div><span style="font-family: Arial Narrow; font-size: large;">[Poster by member of LA CLEF REVIVAL]</span><p><span style="font-family: Arial Narrow; font-size: x-large;"><i><br /></i></span></p><p><span style="font-family: Arial Narrow; font-size: x-large;"><i><br /></i></span></p><p style="text-align: center;"><span style="font-family: Arial Narrow; font-size: x-large;">*</span></p><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="font-family: "Gill Sans"; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="font-family: "Gill Sans"; text-align: center;"><span style="font-size: x-large;">PLATFORM – LA CLEF REVIVAL – AGAINST ITS EVICTION</span></div><div style="font-family: "Gill Sans"; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="font-family: "Gill Sans"; text-align: center;"><i><span style="font-size: large;">TRIBUNE – LA CLEF REVIVAL – CONTRE SON EXPULSION</span></i></div><p><span style="font-family: Gill Sans; font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><span style="font-family: Gill Sans;">The order was given to evict us as soon as possible. </span><span style="font-family: Gill Sans;">The cinema that our collective has been occupying and supporting for two and a </span><span style="font-family: "Gill Sans";">half years is the property of a union of executives, the CFE-CGC, at the head of </span><span style="font-family: "Gill Sans";">the works council of the Caisse d'Épargne, in a hurry to sell the building to the </span><span style="font-family: "Gill Sans";">highest bidder and annoyed by our stubborn presence within its walls.</span></span></p><p><span style="font-family: "Gill Sans";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-size: x-large;"><span style="font-family: Gill Sans;">For the past two and a half years that we’ve been fighting to preserve the last association-run</span><span style="font-family: "Gill Sans";"><span style="color: red;"> </span>cinem</span><span style="font-family: Gill Sans;">a (<i>cinéma associatif</i>) </span><span style="font-family: "Gill Sans";">in Paris, we have invented a way of seeing and making films </span><span style="font-family: "Gill Sans";">that arouses unprecedented enthusiasm and solidarity. Nearly 15,000 spectators </span><span style="font-family: "Gill Sans";">attended more than 500 screenings – rare, forgotten or fragile works, shown for pay-what-you-can (<i>prix libre</i>) admission</span><span style="font-family: "Gill Sans";"> to allow everyone to discover them. </span></span></p><p><span style="font-family: "Gill Sans";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-size: x-large;"><span style="font-family: "Gill Sans";">More than a hundred filmmakers </span><span style="font-family: "Gill Sans";">have given us their support by coming to meet the public of La Clef. Institutions </span><span style="font-family: "Gill Sans";">and public authorities welcome our actions in favor of distribution and creation. </span><span style="font-family: "Gill Sans";">We have set up a residency for young filmmakers, <a href="https://laclefrevival.com/studio34/" target="_blank">Studio 34</a>; initiated free image </span><span style="font-family: "Gill Sans";">education workshops for schoolchildren, <a href="https://laclefrevival.com/la-petite-evasion/" target="_blank">La Petite Évasion</a>; organized two</span><span style="font-family: "Gill Sans";"> <a href="https://laclefrevival.com/la-radio/" target="_blank">radio</a> podcasts, with concerts, interviews, roundtables...</span></span></p><p><span style="font-family: "Gill Sans";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-size: x-large;"><span style="font-family: Gill Sans;">In short, we have worked, on a voluntary basis, to create a place of discovery, </span><span style="font-family: "Gill Sans";">encounters and creation, essential in a context where culture is constantly </span><span style="font-family: "Gill Sans";">undermined by the economic imperative and by the health crisis. </span></span></p><p><span style="font-family: "Gill Sans";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-size: x-large;"><span style="font-family: "Gill Sans";">We have also </span><span style="font-family: "Gill Sans";">worked on concrete solutions to buy La Clef and continue this commitment </span><span style="font-family: "Gill Sans";">independently. </span></span></p><p><span style="font-family: "Gill Sans";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-size: x-large;"><span style="font-family: "Gill Sans";">We </span><span style="font-family: Gill Sans;">manage</span><span style="font-family: "Gill Sans";"> a strong endowment fund of more than 100,000 euros in </span><span style="font-family: "Gill Sans";">individual donations, and several pledges from various patrons. As we’ve </span><span style="font-family: "Gill Sans";">already mentioned in a previous forum (<a href="https://blogs.mediapart.fr/home-cinema/blog/141220/la-clef-revival-un-lieu-qui-s-accorde-nos-desirs?f bclid=IwAR0Oyr9DlE_oCSeS5RUDlwK_lmL821vu0ktA-YHhtjpDpHJyI4Vr7hKnpBs" target="_blank">here</a>), this mode of acquisition would </span><span style="font-family: "Gill Sans";">make it possible to buy the walls without impacting the current operation of the </span><span style="font-family: "Gill Sans";">cinema. </span><span style="font-family: "Gill Sans";">La Clef would remain independent and would no longer be a simple product of </span><span style="font-family: "Gill Sans";">speculation </span><span style="font-family: "Gill Sans";">on </span><span style="font-family: "Gill Sans";">the property market. Its eclectic and collective programming, its </span><span style="font-family: "Gill Sans";">practice of pay-what-you-can admission would be preserved in the long term, by ensuring that the </span><span style="font-family: "Gill Sans";">place continues to be run as a non-profit association.</span></span></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><span style="font-family: Gill Sans;">At the same time, we’ve succeeded in having our model accepted by institutions </span><span style="font-family: "Gill Sans";">in the film industry. Thus, the pay-what-you-can projections that we've been making </span><span style="font-family: "Gill Sans";">since the opening will be recognized by the CNC in the event of the legalization of </span><span style="font-family: "Gill Sans";">our situation. The Studio 34 creation residency has enabled us to collaborate </span><span style="font-family: "Gill Sans";">with many associations and production companies working to promote emerging </span><span style="font-family: "Gill Sans";">creation, making La Clef a real matrix of the cinema of tomorrow. </span></span></p><p><span style="font-family: "Gill Sans";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-size: x-large;"><span style="font-family: "Gill Sans";">Finally, and this </span><span style="font-family: "Gill Sans";">is our greatest pride, we have set up a collective, horizontal, and inclusive </span><span style="font-family: "Gill Sans";">organization, representing an ideal of self-management. La Clef is more than a </span><span style="font-family: "Gill Sans";">hundred volunteers who run the cinema by freeing themselves from </span><span style="font-family: "Gill Sans";">the managerialist, sexist and racist schemes that too often govern the world </span><span style="font-family: "Gill Sans";">of work. We say it again: everything opposes us to the potential buyer, Groupe SOS</span><span style="font-family: "Gill Sans";">, a juggernaut of the so-called "social and consolidated" economy, led by the </span><span style="font-family: "Gill Sans";">deputy director of La Republique En Marche, and working to transform the </span><span style="font-family: "Gill Sans";">association-led environment into a lucrative business. For more information on this </span><span style="font-family: "Gill Sans";">group, the evil methods of its leaders and the fundamental differences between </span><span style="font-family: "Gill Sans";">this billionaire </span><span style="font-family: "Gill Sans";">group</span><span style="font-family: "Gill Sans";"> </span><span style="font-family: "Gill Sans";">and our collective, we invite you to read our previous </span><span style="font-family: "Gill Sans";">forum (<a href="https://blogs.mediapart.fr/home-cinema/blog/141220/la-clef-revival-un-lieu-qui-s-accorde-nos-desirs?fbclid=IwAR0Oyr9DlE_oCSeS5RUDlwK_lmL821vu0ktA-YHhtjpDpHJyI4Vr7hKnpBs" target="_blank">here</a>).</span></span></p><p><span style="font-family: "Gill Sans";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-size: x-large;"><span style="font-family: Gill Sans;">From the beginning, and this is the lot of any occupation, our main problem has </span><span style="font-family: "Gill Sans";">been the owner. It must be said that dialogue with the CFE-CGC has never been </span><span style="font-family: "Gill Sans";">possible. We have sometimes been caricatured, portrayed as dangerous </span><span style="font-family: "Gill Sans";">troublemakers, sometimes despised, our independence serving as a pretext to </span><span style="font-family: "Gill Sans";">marginalize us. In its stubbornness to cede the building to the Groupe SOS, the </span><span style="font-family: "Gill Sans";">leaders of this executive union have, it seems, never been able to grasp the </span><span style="font-family: "Gill Sans";">importance that their own movie house has acquired since we’ve been occupying it. </span><span style="font-family: "Gill Sans";">Or perhaps the race to the highest bidder is ahead of any ethical questioning.</span></span></p><p><span style="font-family: "Gill Sans";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-size: x-large;"><span style="font-family: Gill Sans;">Because in the current political climate, faced with the resurgence of fascism, the </span><span style="font-family: "Gill Sans";">decline of public freedoms, the worsening of social inequalities, La Clef has </span><span style="font-family: "Gill Sans";">become a vital island of emancipation, both for its spectators and for those who </span><span style="font-family: "Gill Sans";">occupy it. <b>If we organize sessions at pay-what-you-can admission, it is because we are, for the </b></span><span style="font-family: "Gill Sans";"><b>most part, precarious</b>. If we project and produce queer, anti-racist, radical films, </span><span style="font-family: "Gill Sans";">it is because they are works that resemble us. If we give so much space to </span><span style="font-family: "Gill Sans";">emerging creation and to the most current stories, it is because we come from </span><span style="font-family: "Gill Sans";">the same generation, which, from economic crisis to health crisis, refuses to </span><span style="font-family: "Gill Sans";">resign itself.</span></span></p><p><span style="font-family: Gill Sans; font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><span style="font-family: Gill Sans;">At a time when the Police Department is carefully preparing our expulsion, we </span><span style="font-family: "Gill Sans";">would like to address ourselves publicly to the CFE-CGC, to its executives but </span><span style="font-family: "Gill Sans";">also to its members. </span></span></p><p><span style="font-family: "Gill Sans";"><span style="font-size: x-large;"><br /></span></span></p><p><span style="font-size: x-large;"><span style="font-family: "Gill Sans";">Be aware that by expelling our collective, you are destroying </span><span style="font-family: "Gill Sans";">more than two years of unprecedented cultural and creative effervescence, </span><span style="font-family: "Gill Sans";">representing an artistic ideal for many local residents, film lovers, filmmakers and </span><span style="font-family: "Gill Sans";">workers in film and the culture in general. Be aware that by abandoning the last </span><span style="font-family: "Gill Sans";">association-run cinema in Paris to a billionaire group whose predatory practices are </span><span style="font-family: "Gill Sans";">gradually undermining the associative milieu, your union is participating in the </span><span style="font-family: "Gill Sans";">current reactionary offensive, always stifling a little more those who fight on a </span><span style="font-family: "Gill Sans";">daily basis for more solidarity, inclusiveness, dignity.</span></span></p><p><span style="font-family: Gill Sans; font-size: x-large;"><br /></span></p><p style="text-align: right;"><span style="font-family: Gill Sans; font-size: x-large;">The Occupants of the La Clef Cinema </span></p><p style="text-align: right;"><span style="font-family: Gill Sans; font-size: x-large;">at 34 rue Daubenton, Paris 5th.</span></p><p style="text-align: right;"><br /></p><p><span style="font-family: Gill Sans; font-size: x-large;"><br /></span></p><p><span style="font-family: Gill Sans; font-size: x-large;"><br /></span></p><p style="text-align: center;"><span style="font-family: Gill Sans; font-size: x-large;">*</span></p><div><span style="font-family: Arial Narrow; font-size: x-large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: x-large;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2JveVlw9QRgrg-fDS_S2faO0Rxas4cZpzlh4kIF6rkfGeYoYL_qjFngD4lofpWSW_QrK4pTmyMK9FvAm1M08nr6VIiq_x32nEcuAcJId9dHKjnTo0AyL6MJ9BkWYcox1jDwtu/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2421" data-original-width="1867" height="697" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2JveVlw9QRgrg-fDS_S2faO0Rxas4cZpzlh4kIF6rkfGeYoYL_qjFngD4lofpWSW_QrK4pTmyMK9FvAm1M08nr6VIiq_x32nEcuAcJId9dHKjnTo0AyL6MJ9BkWYcox1jDwtu/w537-h697/0001+2.jpg" width="537" /></a></div></div><br /></span></div><div><span style="font-family: Arial Narrow; font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;"><span style="font-family: Arial Narrow;">KINO SLANG is full of admiration for what LA CLEF REVIVAL has achieved:</span><span style="font-family: "Arial Narrow";"> </span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div><span style="font-family: Arial Narrow; font-size: x-large;">––The popular occupation and collective running of a disused Latin Quarter cinema, the red-marqueed LA CLEF (THE KEY)––a movie house with a great history of projecting ignored films from Africa and the Arab world under the tutelage of Sanvi Panou in the 90s, a movie house that stands in a Paris neighborhood extremely important to the history of film clubs, critics, theorists, film-goers, and filmmakers in France, in short: to the cinema. It must continue...</span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div><span style="font-family: Arial Narrow; font-size: x-large;">––LA CLEF REVIVAL's vital film programming over the past two years done in relay by its members, occupants, and invited filmmakers young and old. Film programming totally free of the scheming and possessiveness of so-called professional film curators, free of the hustling, hierarchies, corporate sponsorship and servitude of film festivals, and even free of fixed admission prices, practicing pay-what-you-can admission, encouraging participation and film-going for the young, unemployed, retired, underpaid.</span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div><span style="font-size: x-large;"><span style="font-family: Arial Narrow;">––Their courage: When police told LA CLEF REVIVAL to pack up, they increased their cine-activity. All last week the screenings and forums became all-day affairs, from 11am (sometimes 6am!) until 11pm. Earlier last year, when the financial behemoth Groupe SOS offered to buy the property and allow LA CLEF REVIVAL to continue as it has, LA CLEF boldly refused (while quoting Brian De Palma: “Capitalism always goes about neutralizing a protesting force in the same way, it covers it with gold, and suddenly it's no longer protesting at all, and falls in line”), </span><span style="font-family: "Arial Narrow";">seeing and knowing (as we all do) the inevitable: that this would be precisely the rope with which to hang any autonomous community effort, any free cinema; that they would suddenly become employees of a sort, debtors and tenants for these particularly professional billion-euro restructurers; the original </span><span style="font-family: "Arial Narrow";">anti-profit </span><span style="font-family: "Arial Narrow";">impulse and foundation of protest would die, all would be lost. "<a href="https://blogs.mediapart.fr/home-cinema/blog/141220/la-clef-revival-un-lieu-qui-s-accorde-nos-desirs?fbclid=IwAR0Oyr9DlE_oCSeS5RUDlwK_lmL821vu0ktA-YHhtjpDpHJyI4Vr7hKnpBs" target="_blank">Exit the movie usher, enter the managers</a>," as LA CLEF put it.</span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;">––That "simple thing, so hard to achieve", so monstrously difficult in monstrous times: simply having and maintaining a neighborhood cinema, with popular support.</span></span></div><div><div><span style="font-family: Arial Narrow; font-size: x-large;"><br class="Apple-interchange-newline" />AN INJURY TO ONE (CINEMA) IS AN INJURY TO ALL (CINEMAS):</span></div><div><span style="font-family: Arial Narrow; font-size: x-large;"><br />THIS IS TRUE ABOVE ALL IN CINEMA, WHERE ALL EFFORTS OF ALL COUNTRIES CONTRIBUTE TO THE SUSTENANCE OF THIS GREAT ART AND ITS POSSIBILITIES FOR KNOWLEDGE AND LIBERATION.<br /><br />I SUPPORT <b>LA CLEF REVIVAL CINEMA</b> AND ITS PEOPLE, THEIR ASSOCIATION, THEIR OCCUPATION, AND THEIR CONTINUATION, WHICH IS TO SAY I AM AGAINST THEIR EVICTION AND THE ARRESTING OF THE CINEMA (EVERYWHERE!), AGAINST THE LANDOWNERS, SPECULATORS, AND POLICE WHO ENFORCE THEIR CRETINOUS RULE OF CAPITAL (EVERYWHERE!).</span></div><div><span style="font-family: Arial Narrow; font-size: x-large;"><br /></span></div><div><span style="font-family: Arial Narrow; font-size: x-large;"><br /></span></div><div><div><span style="font-family: Arial Narrow; font-size: x-large;">Signed,</span></div><div><span style="font-family: Arial Narrow; font-size: x-large;">Andy Rector</span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;">KINO SLANG</span></span></div><div><span style="font-family: Arial Narrow; font-size: x-large;">Los Angeles</span></div></div></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div><span style="font-family: "Arial Narrow";"><span style="font-size: x-large;"><br /></span></span></div><div><span style="font-size: x-large;"><br /></span></div></div></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: x-large;"> </span></div> <div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: x-large;">Thanks to Valérie Massadian </span></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: x-large;">for all updates + translation </span></div><div style="text-align: right;"><span style="font-family: Arial Narrow; font-size: x-large;">of LA CLEF's tribune</span></div></div></div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-68881318660092437102022-01-12T14:59:00.003-08:002022-01-12T15:07:31.936-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-S-3nv5YDiWhlckGyXfsZG-UBPG26z3Vnph-Z92MO2XXWbjue0SMXPUussNbZnp4Ek_Mr-mmDF_CpsFkwOCX1YjzaF0U-wVATqNkCoYCekpiiFnBgFqI74PmXVBBoLL4vjJ97/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="568" data-original-width="1076" height="419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-S-3nv5YDiWhlckGyXfsZG-UBPG26z3Vnph-Z92MO2XXWbjue0SMXPUussNbZnp4Ek_Mr-mmDF_CpsFkwOCX1YjzaF0U-wVATqNkCoYCekpiiFnBgFqI74PmXVBBoLL4vjJ97/w794-h419/Screen+Shot+2022-01-11+at+12.57.34+AM.png" width="794" /></a></div><br /><br /></div><br /><br /><span style="font-size: large;">A Glimmer of Candlelight: Peter Nestler’s <i>Picasso in Vallauris</i><br /><br /></span><div><span style="font-size: large;">by Libertad Gills</span><br /><br /><br /><br /><span style="font-size: x-large;">L</span><span style="font-size: medium;">ess than a month remains to catch <a href="https://der-geteilte-picasso.de/en/exhibition-part/picasso-in-vallauris/" target="_blank">Peter Nestler’s new film <i>Picasso in Vallauris</i></a> (2021, 47 minutes) during its current online run, which began September 25, 2021 and ends January 30, 2022, made available internationally and for free by Museum Ludwig, Cologne. The film was commissioned for an exhibition titled “<a href="https://www.museum-ludwig.de/en/exhibitions/picasso-shared-and-divided-the-artist-and-his-image-in-east-and-west-germany" target="_blank">Picasso Shared and Divided: The Artist and His Image in East and West Germany</a>”, curated by Julia Friedrich. The exhibition is concerned with Picasso’s presence (and memory) in the two Germanys, however this is not the subject of Nestler’s film; instead, Nestler examines by way of a lyrical and peacefully-paced essay, Picasso’s period in Vallauris, a communist-led commune located in the Cote d’Azur region of southeastern France, with special attention to the words and images of people who remember him, as well as to the work in ceramics and painting that he produced during this time. While Luciano Emmer’s 1954 film <i>Pablo Picasso a Vallauris</i> was made when Picasso was still living in Vallauris, Nestler’s <i>Picasso in Vallauris</i>, filmed in the first weeks of 2020, takes the spectator to Vallauris today and looks back to Picasso’s time there (1948-1955) but also forward to the following generations of future artists who, as we see in the film, are still children.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; font-size: large; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><img alt="" data-original-height="470" data-original-width="1322" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEJIo9FG4eB54FD4XUymeZ0lJtIdG0MJ1IRiEtpK1Mble0v5jr1UROI1eUChXtgJjzT3nvfyZ5898zZcBeSfpkAuRkG1JEIxtQpjj4su_w811PzNsTfcMwZOn6HegC4H4PGYoJ/w825-h294/emmer+nestler+vallauris.png" width="825" /></div></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><i> Pablo Picasso a Vallauris Picasso in Vallauris</i></div><div style="text-align: left;"> (Luciano Emmer, 1954) (Peter Nestler, 2021)</div></div><span style="font-size: medium;"><br /><br /><br /> <i>Picasso in Vallauris</i> is loosely divided into two parts, with a suggestive prologue and a beautiful and unexpected epilogue. The film begins suddenly, without credits or music. The first thing we see is Picasso’s <i>La Minotauromachie </i>dedicated to Paul Éluard and his wife Nusch and signed by Picasso in 1936. On the soundtrack, we hear multiple voices; Nestler himself, as well as others who will provide a textured and collective narration to the photographic archives, letters, citations, and commentary that will be presented throughout the film. Éluard, we are told, was like a brother to Picasso. From the beginning we understand that this is not a conventional documentary on the world’s most famous painter: Nestler’s film will be affectively guided by the voices and images of those who were close to Picasso and who shared a common history with him. Unlike other films on the artist, this film is not only concerned with the man, but with the landscape, the ruins, the artifacts, and with what remains from this period in present-day Vallauris. </span><br /><p></p><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; font-size: large; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3h5055YzMF6e1HrU4Ttb0BSRaniFynUswpDmmqkfvJT3W5_kjglBMPUWIpgZGDzYugB5nGrxELg8lMBX1bDAIrmQZ2KivJG_Km_sygC0OyMB_Hb643cndAlZKnO_skpV2NW7-/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="601" data-original-width="1148" height="421" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3h5055YzMF6e1HrU4Ttb0BSRaniFynUswpDmmqkfvJT3W5_kjglBMPUWIpgZGDzYugB5nGrxELg8lMBX1bDAIrmQZ2KivJG_Km_sygC0OyMB_Hb643cndAlZKnO_skpV2NW7-/w802-h421/Screen+Shot+2022-01-11+at+12.57.16+AM.png" width="802" /></a></div><div class="separator" style="clear: both; font-size: large; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: right;"><span style="text-align: left;"><i>L’homme au mouton,</i></span></div><div class="separator" style="clear: both; text-align: right;"><span style="text-align: left;">a gift to the town of Vallauris</span></div><div class="separator" style="clear: both; text-align: right;"><span style="text-align: left;">1949</span></div><div class="separator" style="clear: both; text-align: right;"><br style="text-align: left;" /></div><div style="font-size: large; text-align: right;"><br /></div><br /><span style="font-size: medium;"> The first part of the film is concerned with the beginning of Picasso’s period in Vallauris starting in 1948, where he initially went to study pottery with Suzanne and Georges Ramie. He discovers the essential consistency of pottery, in relation to painting, including the observation that while in painting, the colors will gradually change over time, in pottery they remain the same. It is here, in Vallauris, and with the art of ceramics, that Picasso is revived as an artist. Nestler’s film borrows some shots from Emmer’s <i>Incontrare a Picasso</i> (1954), including a magical scene where Picasso transforms a ceramic vase into a peace dove in just a couple of minutes. Here every archival image becomes an archeological artifact that leads to an opening and a new discovery. For instance, a photograph by Robert Doisneau of Picasso with four-finger-shaped bread leads to a comment on Picasso’s ability with his hands—essential for any ceramist. This section of the film includes hypnotic images of local ceramists (the Crocianis family) working with their hands in Vallauris today, as well as beautiful photographs of Picasso with his family by Brassai, and of the artist at work by Edward Quinn.</span></div><div class="separator" style="clear: both;"><span style="font-size: medium;"><br /></span><div class="separator" style="clear: both; font-size: large; text-align: left;"><span id="docs-internal-guid-f1900ff8-7fff-fd40-2424-0a1f0e78b479"><div><span face=""Helvetica Neue", sans-serif" style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div></span></div><div class="separator" style="clear: both; text-align: center;"><img alt="" data-original-height="537" data-original-width="973" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1pwoNATNLNPKkvonM1d842tfU9YtyjjgQW1al9mQIFoUOiKH8WJOdbS_ofbG2wy4q7mn8x9FOkVaKPkAJirpsLoC6sr59Iy1CQpvF9Hyzlk9b0E-zfom2-UwQf0b7C4anHqd4/w890-h492/Screen+Shot+2022-01-11+at+12.57.57+AM.png" width="890" /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYaFcriPmItRumlr7yUaburMg3HMX-RuoA66DCwfCNLdRvWmFKjd4H8ulLYRsHj8hPHZsx4-DeVtQJkIuMTAtKunCtS_1rVKEqHQE7iFAJjm5fLZDLRf1FbxC6NcthWiBlIcI3/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="674" data-original-width="1280" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYaFcriPmItRumlr7yUaburMg3HMX-RuoA66DCwfCNLdRvWmFKjd4H8ulLYRsHj8hPHZsx4-DeVtQJkIuMTAtKunCtS_1rVKEqHQE7iFAJjm5fLZDLRf1FbxC6NcthWiBlIcI3/w564-h298/Screen+Shot+2022-01-11+at+9.12.11+PM.png" width="564" /></a></div><br /><br /></div><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div></div><span style="font-size: medium;"> In the second part of the film, Nestler takes us into Picasso’s mural <i>War and Peace</i>, one of the major artworks made in the second half of his period in Vallauris. The mural was produced for an abandoned castle’s chapel vault which Picasso wanted to transform into a “temple of peace” and a symbol of protest against war. Nestler shows us the mural in different ways. First, filmed with a diffused iris effect around the image, produced by a flashlight or lantern perhaps, following Picasso’s wishes that it be seen as if by candlelight. This allows us to look at details first. Then we see the mural again but without the iris: several widescreen slow pans and tilts across the work, allowing us to see the details in relation to the rest of the mural. Then we see details of the mural again, well-illuminated. These details allow us to see the materiality of the mural itself, including the divisions in the fiberboard panels. This texture adds new meaning to the images. Nestler’s voice over provides a beautiful commentary on the images, adding to what we see. He points out, for example, “the vulnerable owl”, a figure that we have seen in Picasso’s life and work from the beginning of the film. Finally, we see the images again, a fourth time, through the sketches that make up Picasso’s studies for the mural. “Doing so many studies is the way I work.” These several layers of seeing provided by Nestler allow us to explore this work from different perspectives.</span></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_W6jsF5MYShjJPdv7r7-m810cUsIZUn1uUP2HmSw2zbhHnmDhnfto-oLogJXEdQIgsCSn9os7lEjmOF6K3VYckZF6fu74jDkcJucJ8T7Qcrv0ISDHRJCM8QUI77J5iJTItjyu/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="800" data-original-width="1280" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_W6jsF5MYShjJPdv7r7-m810cUsIZUn1uUP2HmSw2zbhHnmDhnfto-oLogJXEdQIgsCSn9os7lEjmOF6K3VYckZF6fu74jDkcJucJ8T7Qcrv0ISDHRJCM8QUI77J5iJTItjyu/w787-h492/Screen+Shot+2022-01-11+at+5.16.58+PM.png" width="787" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpsqI1BCYx29AbUhG8yNa231heYyhyrEd042wzC9B2fFPgfxlbq-tMX9qvyL6-MFSF4uIq5ZMzTq9F_BiBWOKExuaFBAJWHU0d3HZD3tsHP-Vpcxk-rofuW_1zguVJo9Z2Um5j/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="344" data-original-width="1012" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpsqI1BCYx29AbUhG8yNa231heYyhyrEd042wzC9B2fFPgfxlbq-tMX9qvyL6-MFSF4uIq5ZMzTq9F_BiBWOKExuaFBAJWHU0d3HZD3tsHP-Vpcxk-rofuW_1zguVJo9Z2Um5j/w871-h298/Copy+of+mino+peace.png" width="871" /></a></div><br /><br /></div><span style="font-size: medium;"> In the final epilogue, Nestler films a group of young children in a drawing class taught by two young women, everyone silently working away in concentration. Whispers are heard here and there of children borrowing colorful pencils and markers from each other. We see and hear the silent discipline of children diligently working. Nestler’s voice-over commentary also goes quiet. As the camera tilts up from one of the artworks, we see the artist: a little girl with an owl on her shirt, in a wonderful gift of chance.</span><div><span style="font-size: medium;"><br /><br /> Picasso’s life, work, and passion has one significant counterpoint in the film: a collection of brief moments where Nestler comments on other artists, friends, and contemporaries who did not survive the war. His earlier period in Vallauris, for example, was the worst of the Occupation in Paris. His friends had to hide from the Gestapo, including Max Jacob, who died in the Drancy camp near Paris, before he was even transported to Auschwitz. In another moment in the film, without an explicit connection to the rest of the narration, we are told of Pierre Daix, a journalist and book author in the Resistance, who was arrested, tortured, and sent to Mauthausen. “He is one of the survivors”, says Nestler. But many did not survive. One of these is Pierre Chalmette, former mayor of Vallauris, killed by the Gestapo on August 15th, 1944. </span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"> The life and work of an artist, in counterpoint to the cruelty and injustice of war. Nestler does not allow us to get swept up into Picasso’s success and genius, of which so much has already been said. We see that his work is, in the first place, <i>work</i>. His painless stroke of the paintbrush makes it look easy but we know that many hours of study, research, and pain are behind each gesture. War, fascism, injustice, are not just realities of life that have gotten in the way of the work of artists; they also shape artists, giving them, oftentimes, their subject. Art is a way to respond to war, “as an offensive and defensive weapon against the enemy”, says Picasso. When we see the children, their diligence and concentration, their pleasure in drawing, in creating in silence, we are left with the inevitable question of what will one day interrupt their practice, what will <i>their</i> subject be? Meanwhile, they must continue to work, they must keep practicing, they must keep exploring line and color. There will be time for war, for unrest, for the pain of watching others die before their time. For now, they draw themselves as a beautiful girl in a red gown, or in a bicycle race; or a simple row of nice houses and a street lined with colorful rabbits. For now, we/they must learn to work. From their work, one day they will find an answer to that which has not yet occurred.</span></div><span style="font-size: medium;"><br /><br /> Picasso is referenced as saying, “Throughout the history of painting, you will find that there are 20 subjects, at most. A subject is something universal. It inevitably embodies an important phase of human development. Birth, suffering, death: those are major subjects”. Despite the fact that there are limited subjects, Nestler has found a way to shine a light (a candlelight) on subjects we are already familiar with: life, war, survival, death, and the subject of Picasso himself. Nestler makes the subject anew through his attention, his research, his work. The editing of archives </span><span style="font-size: large;">— </span><span style="font-size: medium;">still photographs and films, quotes from different people who met Picasso at the time (the potters, the village baker) and two complete Éluard poems (the “chant dissident” titled “Bêtes et méchants” [The Stupid and the Wicked] and “Les Belles Balances de l’Ennemi” [The Enemy’s Beautiful Balances], both wartime poems published in 1945) </span><span style="font-size: large;">—, </span><span style="font-size: medium;">the coming together of these materials appears as natural, as effortless as Picasso’s brush stroke painting his peace doves, from wings to tail to head to olive branch. But the work is there; like Picasso, Nestler has prepared for this his entire life. The result is nothing short of perfection.<br /></span><div><div><div class="separator" style="clear: both;"><br /><br /></div><div class="separator" style="clear: both; text-align: right;"><span style="font-size: medium;">Libertad Gills</span></div><div class="separator" style="clear: both; text-align: right;"><span style="font-size: medium;">Quito</span></div><div class="separator" style="clear: both; text-align: right;"><br /></div><div class="separator" style="clear: both; font-size: large; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIbN7787UUigUr5UowNzcFMLkm7TotJxJipG-vBLpu6kRDrcAcVGjG7tvV0IR8HCXJkvN6JB0DW2HxHfoFRWfIPTUw3nEiPx7AILfAxHhTAvwyNzEXLMgoGhYyFfvKrOHbTRTe/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="554" data-original-width="947" height="463" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIbN7787UUigUr5UowNzcFMLkm7TotJxJipG-vBLpu6kRDrcAcVGjG7tvV0IR8HCXJkvN6JB0DW2HxHfoFRWfIPTUw3nEiPx7AILfAxHhTAvwyNzEXLMgoGhYyFfvKrOHbTRTe/w791-h463/Screen+Shot+2022-01-11+at+12.58.34+AM+copy.png" width="791" /></a></div><br /><br /></div><div class="separator" style="clear: both; font-size: large; text-align: center;"><br /></div><div class="separator" style="clear: both; font-size: large; text-align: center;"><br /></div><div style="text-align: center;"><span style="font-size: large;">*</span></div><br /><br /><br /><br /><span style="font-size: medium;">To see the film on vimeo:</span><br /><a href="https://vimeo.com/601697031/ab2a0e91c0">https://vimeo.com/601697031/ab2a0e91c0?</a></div><div><br /></div><div><span style="font-size: medium;">Museum Ludwig page about the film:<br /></span><a href="https://der-geteilte-picasso.de/en/exhibition-part/picasso-in-vallauris/">https://der-geteilte-picasso.de/en/exhibition-part/picasso-in-vallauris/</a></div><div><br /></div><div><span style="font-size: medium;">About the Exhibition:</span> </div><div><a href="https://www.museum-ludwig.de/en/exhibitions/picasso-shared-and-divided-the-artist-and-his-image-in-east-and-west-germany">https://www.museum-ludwig.de/en/exhibitions/picasso-shared-and-divided-the-artist-and-his-image-in-east-and-west-germany</a></div><div><br /><br /><br /><br /><br /><br /><span id="docs-internal-guid-95e6a8dc-7fff-3a33-99c7-194a18fe4fdd"><div><br /></div><div><br /></div><div><div style="text-align: center;"><span style="font-size: large;"><br class="Apple-interchange-newline" />*</span></div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div></span><span style="font-size: medium;"><br /><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></span></div></div></div></div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-1553250155526513482021-10-27T23:33:00.003-07:002023-05-06T19:07:47.528-07:00a dynamic square<p><span style="font-family: times; font-size: large;"> </span></p><p><span style="font-family: times; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEich3EJW9M0QWOl8vAp78lo7sesBWi9X0m7tpBHOiguZnXZWsvZjn5U6qW0fwhoqm_1vkRCQDhaEXbDFgToDNxnNnKhcPVzCwgnFtRMwaBVq_rbJvUT8bSlnYpF6lyqfAqLXxKD/s1881/20211027_225104.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1320" data-original-width="1881" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEich3EJW9M0QWOl8vAp78lo7sesBWi9X0m7tpBHOiguZnXZWsvZjn5U6qW0fwhoqm_1vkRCQDhaEXbDFgToDNxnNnKhcPVzCwgnFtRMwaBVq_rbJvUT8bSlnYpF6lyqfAqLXxKD/w603-h425/20211027_225104.jpg" width="603" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><span style="font-family: times; font-size: large;"><br /></span><p></p><p><span style="font-family: times; font-size: large;">There came a day when I both rose to the highest heights to which a person can hope to ascend and descended to the lowest depths out of which a person emerges. </span></p><p><span style="font-family: times; font-size: large;">On one and the same sunny day in Zurich. </span></p><p><span style="font-family: times; font-size: large;">In the morning I flew with the now deceased Mittelholzer over the snowy whiteness of the Alps. </span></p><p><span style="font-family: times; font-size: large;">In the afternoon we piled in to the no less crystalline whiteness of one of the best women's clinics in Switzerland.</span></p><p><span style="font-family: times; font-size: large;">In the morning, we'd been amusing ourselves.</span></p><p><span style="font-family: times; font-size: large;">In the afternoon, we 'earned back' that opportunity we had taken to amuse ourselves. </span></p><p><span style="font-family: times; font-size: large;">In the Zurich clinic, we filmed a <i>kaiserschnitt</i>, a caesarean section, for a semi-scientific picture, which was our source of sustenance during the first third of our international journey.</span></p><p><span style="font-family: times; font-size: large;">Here, for the first time, I observed as a little living being died in my hands </span><span style="font-family: times; font-size: x-large;">on a napkin </span><span style="font-family: times; font-size: x-large;">over the course of ten minutes or so after its premature appearance in the world. </span></p><p><span style="font-family: times; font-size: large;">This stage of life interested me very much. </span></p><p><span style="font-family: times; font-size: large;">I was very much interested by this opportunity to discern the degree of complexity with which such a small being moves at this phase of development, a being who has not yet come to know the differentiation of movements. </span></p><p><span style="font-family: times; font-size: large;">I needed to see this, in order to clarify the fundamental constant of expressive movement.</span></p><p><span style="font-family: times; font-size: large;"><br /></span></p><p style="text-align: right;"><span style="font-family: times; font-size: large;">— <a href="https://www.researchgate.net/figure/One-of-several-photographs-Sergei-Eisenstein-had-taken-of-himself-holding-and_fig4_319907852" target="_blank">Sergei M. Eisenstein</a></span></p><p style="text-align: right;"><span style="font-family: times; font-size: large;"><a href="https://us.potemkinpress.com/products/sergei-eisenstein-method" target="_blank">Metod</a> | Methode, vol. 1, 1942-43</span></p><p style="text-align: right;"><span style="font-family: times; font-size: large;">trans. <a href="https://us.potemkinpress.com/products/sergei-eisenstein-the-primal-phenomenon-art" target="_blank">Dietmar Hochmuth,</a> <a href="https://www.bloomsbury.com/us/savage-junctures-9780857716682/" target="_blank">Anne Nesbet</a></span></p><p style="text-align: right;"><span style="font-family: times; font-size: large;"><br /></span></p>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-87966218426710236542021-05-01T23:59:00.012-07:002023-04-30T18:04:18.738-07:00 may night<p> </p><p><br /></p><p><span style="font-family: times; font-size: x-large;"> *</span><span style="text-align: center;"> </span></p><p style="text-align: center;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_TBNbAPKbnw38dg6xhplkCyAxwpkCGzOMzaW8OiAZ3CoprKGskuvUHBNLpsBz7vM5EyK22sHhfnbGVCkOhKeXxZke7-bpe7U2a4XQhdwAC7dhgDosTTGMHSQ-vIywx4GZvkdx/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="588" data-original-width="871" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_TBNbAPKbnw38dg6xhplkCyAxwpkCGzOMzaW8OiAZ3CoprKGskuvUHBNLpsBz7vM5EyK22sHhfnbGVCkOhKeXxZke7-bpe7U2a4XQhdwAC7dhgDosTTGMHSQ-vIywx4GZvkdx/w780-h526/toute+rev.png" width="780" /></a></div><br /><p></p><p style="text-align: center;"><br /></p><p style="text-align: center;"></p><span style="font-size: large;"><div> <span style="font-family: arial;">Huillet: </span></div><div><span style="font-family: arial;"> But after all, resistance is not liberty, </span></div><div><span style="font-family: arial;"> it's more the defense of liberty.</span></div></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;"><br /><br /></span></div><span style="font-family: arial;"><br /><br /></span></div><span style="font-family: arial;"><br /><br /></span><div class="separator" style="clear: both;"><div class="separator" style="clear: both; text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDpZ0xXpMb_EJTlB_R5LN3s8B_uyD8xUicGtqEnI6S9vMEhujHunHB5AvDWmnm_ap22jnotFe9ytWwZe2WW-UO0kLZs43MrO-xmZQZjKUDs_8_kEJrkaQis6n0fedyE3u3NJe/" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img alt="" data-original-height="1294" data-original-width="2048" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDpZ0xXpMb_EJTlB_R5LN3s8B_uyD8xUicGtqEnI6S9vMEhujHunHB5AvDWmnm_ap22jnotFe9ytWwZe2WW-UO0kLZs43MrO-xmZQZjKUDs_8_kEJrkaQis6n0fedyE3u3NJe/w724-h457/sme+films+apple+blossom+prologue.jpeg" width="724" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><br /></span></div><span style="font-family: arial; font-size: large;"><div style="text-align: right;">"...art tries invariably to revive in people </div><div style="text-align: right;">this incessant thirst for ideal states </div><div style="text-align: right;">which precede the division in classes."</div><div style="text-align: right;">S.M. Eisenstein</div><div style="text-align: right;"><br /></div><div><div class="separator" style="clear: both; font-size: medium;"><span style="font-family: arial; font-size: large;"><div><br /></div><div><br /></div><div>No such luxury when it's a who banker says</div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisRf0O6btEOFaZS1tCMbL7XGlx-U3V0aDFrWH3McJgC-I_OTDQBTGvQLPe1scdkQHW9uyJnmfuw9h3sm2QBB7DGnZRlgV3q8F7eQ4VGrt_yAr5j0yJWIKfkWctfGalArUADbo9/s400/history+lessons.png" style="font-size: medium; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="276" data-original-width="400" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisRf0O6btEOFaZS1tCMbL7XGlx-U3V0aDFrWH3McJgC-I_OTDQBTGvQLPe1scdkQHW9uyJnmfuw9h3sm2QBB7DGnZRlgV3q8F7eQ4VGrt_yAr5j0yJWIKfkWctfGalArUADbo9/w487-h336/history+lessons.png" width="487" /></a></div><div><br /></div><div>Wonderful, convivial facts: but said by whom and why? So a banker is filmed. Or rather, a man (a friend) in the garb of a banker of Caesar's day. And not in Caesar's day, but the day you filmed. And on that day, the flowers on the property too. And not a banker's words, but those found and constructed by Brecht (a friend), who studied the bankers of yesteryear and today, to be clear. And not words but speech, fragmented in such a way as to hear it new. "<a href="https://kinoslang.blogspot.com/2019/07/jean-marie-straub-daniele-huillet-by-j.html" target="_blank">And the man speaking is slowly being burned by the sun</a>—not spotlights—his lips cracking, his skin reddening. His voice, his rhythm, the way it carries, all subjected to the rivalry of the wind." And the flowers behind, on the property, mix with the anger of one coming to consciousness. </div><div><br /></div><div>And property is dissolved by the work of this tiny crew.</div></span></div></div></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><span style="background-color: #242526; color: #e4e6eb; font-family: arial; text-align: start;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><span style="background-color: #242526; color: #e4e6eb; font-family: arial; text-align: start;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><div><span style="color: #e4e6eb; font-family: arial; font-size: large;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA_IY5MLuNwkXxArgwtxfzuESXaj5rdQv9V8lD48zfKUEFh8du-bn11mL5JtkT9yDLrqeBCN-4qS0MSFcQlst6Da-HPY47PeLJ9Ivpx-Uvv2NAnApS9gDfae82kamPJOBrQJrc/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1467" data-original-width="2044" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA_IY5MLuNwkXxArgwtxfzuESXaj5rdQv9V8lD48zfKUEFh8du-bn11mL5JtkT9yDLrqeBCN-4qS0MSFcQlst6Da-HPY47PeLJ9Ivpx-Uvv2NAnApS9gDfae82kamPJOBrQJrc/w700-h502/history+lessons+tournage+huillet+straub.jpg" width="700" /></a></div><div style="text-align: right;"><span style="color: #e4e6eb; font-family: arial; font-size: large;"><br /></span></div><div style="text-align: right;"><span style="color: #e4e6eb; font-family: arial; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: xx-large;"><br /></span></div></span><span style="font-family: arial;"><br /><span style="font-size: x-large;">*</span><br /><br /><br /><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><span style="font-size: large;"><div style="text-align: left;"><b>Huillet</b>: Art is a fragile thing, very fragile. There was an orchestra in Dresden. We didn't hear it so often because the Wall was still up and our radio stations very seldom played music performed by the people of Eastern Europe. Since then, there's been an avalanche of Tchaikovsky and others, of recordings made in Hungary, Czechoslovakia, Russia, etc. When we heard the musicians of the Dresden orchestra play Beethoven, Brahms, or Mozart, we said to ourselves: "There's something here that would be unthinkable in the best American orchestras, something right in our ears, that is, one feels these are people for whom time is not money, whereas in the best American orchestra, one always feels behind it <i>time is money</i>, <i>time is money</i>.</div></span><div style="text-align: left;"><br /></div><span style="font-size: large;"><div style="text-align: left;"><b>Straub</b>: It's a perfect science, this hypercharge (<i>survoltage</i>). It is not the result of patience.</div></span><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><b>Huillet</b>: This way of making music is disappearing, because as people's living conditions change, the artistic result also changes. And as for them, there wasn't any resistance, precisely. It was something that just came from their way of life. While to get the same thing now, they would have to start resisting, and it wouldn't necessarily be the same.</span></div><div style="font-size: x-large; text-align: left;"><br /></div><div style="font-size: x-large; text-align: left;"><br /></div><div style="font-size: x-large; text-align: left;"><br /></div><div style="font-size: x-large; text-align: left;"><br /></div><div style="font-size: x-large; text-align: left;"><br /></div><div style="font-size: x-large; text-align: left;"><br /></div><div style="text-align: center;"><span style="font-size: x-large;">*</span></div></span></div><div><span style="color: #e4e6eb; font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><p style="color: black; font-family: Times; font-size: medium; text-align: right;"><br /></p><p style="color: black; font-family: Times; font-size: medium; text-align: right;"><br /></p><p style="color: black; font-family: Times; font-size: medium; text-align: right;"><span style="font-size: large;"><br /></span></p><p style="color: black; font-family: Times; font-size: medium; text-align: right;"><span style="font-size: large;"><br /></span></p><iframe allow="autoplay" allowfullscreen="" frameborder="0" height="480" src="https://player.vimeo.com/video/544105880?autoplay=1& muted=1" width="640 allow=autoplay"></iframe></span></div><div><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">*</span></div><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div></div></div><div><p style="text-align: right;"><span style="font-family: arial; font-size: large;"><br /></span></p><p style="text-align: center;"></p><p style="text-align: center;"><span style="font-family: arial;"><br /></span></p><p style="text-align: center;"><span style="font-family: arial; font-size: large;"></span></p><span style="font-family: arial; font-size: large;"><div style="text-align: right;"><span style="color: #e4e6eb; font-size: large; text-align: center;"> </span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: large;"><span style="background-color: #242526; color: #e4e6eb; text-align: start;"><div class="separator" style="clear: both; font-family: Times; font-size: medium; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTlQu5sNSJ40PhpdAI50yFfsmNA6FzTPTMNeRmLnOs28mnFu00q1OykgESHTBRvcE5pxcgkCNfQGjWfc4uKZzvvh-hQZTO8ISdxRKTkY-LJnKSGOs5BmkhtnaeDxglioVQ0TAL/" style="margin-left: 1em; margin-right: 1em;"><br class="Apple-interchange-newline" /><img alt="" data-original-height="496" data-original-width="640" height="554" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTlQu5sNSJ40PhpdAI50yFfsmNA6FzTPTMNeRmLnOs28mnFu00q1OykgESHTBRvcE5pxcgkCNfQGjWfc4uKZzvvh-hQZTO8ISdxRKTkY-LJnKSGOs5BmkhtnaeDxglioVQ0TAL/w716-h554/Huillet+NV.jpeg" width="716" /></a></div><br /><div style="text-align: left;"><i style="background-color: transparent;">Nicht versöhnt</i></div><div style="text-align: left;"><i style="background-color: transparent;">Not Reconciled</i></div><div style="text-align: left;"><i style="background-color: transparent;">"</i><span style="background-color: transparent;">Non-reconciliation is also a way of making films, of fabricating them...."</span></div><div style="text-align: justify;"><br /></div></span></span></div></div><div><span style="font-family: arial; font-size: large;"><br /></span></div><br /></span><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8PotjOZ1m9TtbI9OjOaIVi5yM4noMdVkqjO9oZfg1AuXH3Xe8U8L6VZkhLBBREag8AJbhC-MD9dssRYucOm1Nl8inTePDq2CeZuC4nBOxvVz5_PoGwdcBSEfnNkdvoo27Pmby/s969/quei+loro+incontri.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="715" data-original-width="969" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8PotjOZ1m9TtbI9OjOaIVi5yM4noMdVkqjO9oZfg1AuXH3Xe8U8L6VZkhLBBREag8AJbhC-MD9dssRYucOm1Nl8inTePDq2CeZuC4nBOxvVz5_PoGwdcBSEfnNkdvoo27Pmby/w567-h418/quei+loro+incontri.jpeg" width="567" /></a></span></div><span style="font-size: large;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /></span><p></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><br /></p><p style="text-align: center;"><br /></p><p style="text-align: center;"><br /></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikqvJ7rztJMRsr-iotkkts8sHR6kjoXuCUJNwmMtwMWt_fUazt6lyBJU_xzpP-auvXDiVl5lVDMcxUNU9Faa4kypYf9bNdYynfXFoOOzbVkfXFYA_G3CJU4tpwb8RQFGFPhanW/s1448/45452559_10156973877040820_255795925593620480_n.jpeg" style="margin-left: 1em; margin-right: 1em;"><br class="Apple-interchange-newline" /><img border="0" data-original-height="1068" data-original-width="1448" height="403" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikqvJ7rztJMRsr-iotkkts8sHR6kjoXuCUJNwmMtwMWt_fUazt6lyBJU_xzpP-auvXDiVl5lVDMcxUNU9Faa4kypYf9bNdYynfXFoOOzbVkfXFYA_G3CJU4tpwb8RQFGFPhanW/w548-h403/45452559_10156973877040820_255795925593620480_n.jpeg" width="548" /></a></span></div><span style="font-family: arial;"><div style="text-align: justify;"><img border="0" data-original-height="1060" data-original-width="1440" height="423" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpxue9lHB9RdHTq3F3wzQ-J31Yr570uZwSZkfH1a8JApwqypEZEjVSFTD85xW3KBMKf7wB48_425EwdHX5KldJhtBPJWAnfpxI7QIjsFRtOguMzdPfebd7qwQUM_Oog33NltnP/w574-h423/45548059_10156973877055820_6678136020237549568_n.jpeg" width="574" /></div></span></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGL9A_GWeX3AYz6W3stFbV6O0QNgZm8NQefkltERGT8UkT2R7KElxKMt0DEF05VKOQ2ECmzVZYmamJEBQEU4KuPKqtPtkjLxi8UVPZpUHrSSx1nkjSysaWZeTsvYWqmZF-UQy-/s1444/45630782_10156973841770820_8226518300775940096_n.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="1080" data-original-width="1444" height="415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGL9A_GWeX3AYz6W3stFbV6O0QNgZm8NQefkltERGT8UkT2R7KElxKMt0DEF05VKOQ2ECmzVZYmamJEBQEU4KuPKqtPtkjLxi8UVPZpUHrSSx1nkjSysaWZeTsvYWqmZF-UQy-/w556-h415/45630782_10156973841770820_8226518300775940096_n.jpeg" width="556" /></span></a></div><div class="separator" style="clear: both;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;"><i><span style="font-size: x-large;">And if the great thunder rolls<br />Over the pack of curs and hangmen<br />For us, the sun will forever<br />Shine on with its fiery beams<br />The time draws near for the worldwide revolt against the yoke of capitalism</span><br /></i><br /><br /><br /><br /><div style="text-align: right;"><span style="font-size: large;">Kino-Pravda <a href="https://vertov.filmmuseum.at/en/film_online/kino-pravda/detail?kinopravda_id=1484829340638" target="_blank"><span style="color: #999999;">no. 22</span></a></span></div><div style="text-align: right;"><br /></div></span></div><div style="text-align: start;"><span style="color: #e4e6eb; font-family: arial; font-size: large;"><br /></span></div></div><p style="text-align: center;"><span style="font-size: large;"></span></p><div><div style="text-align: right;"><span style="font-family: arial;"><br /></span></div><div style="text-align: right;"><span style="font-family: arial;"><br /></span></div></div><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><br /></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-family: arial; font-size: x-large;">***</span></p><p style="text-align: center;"><span style="font-size: large;"></span></p><p><span style="font-family: SuisseIntl;"><span style="font-size: large;"><br class="Apple-interchange-newline" /></span></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><div style="color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Past May Day Dedications to </span></div><div style="color: #999999;"><span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><span>Danièle Huillet </span>on <i>Kino Slang</i></span><br /><span style="font-family: "times" , "times new roman" , serif;"><i> *</i></span></span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2007/05/hand-of-julius-caesar-fancy-would-paint.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2007</span></a> - Examine Caesars </span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2008/05/song-of-two-humans-but.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2008</span></a> - Song of Two Humans, But...!</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2009/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2009</span></a> - This Land is Mine</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2010/05/also-commemorating-birthday-of-daniele.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2010</span></a> - Men Without Women</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2011/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2011</span></a> - Freedom</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2012/05/happy-may-day-with-water-for-small.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2012</span></a> - Small Grasses</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2013/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2013</span></a> - That's Just What We Intend</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2014/05/blog-post.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2014</span></a> - The Lizards</span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">2015 - (no post - misery)</span></div><div style="background-color: black; color: #999999;"><span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><span style="color: orange;"><a href="http://kinoslang.blogspot.com/2016/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2016</span></a> </span>- Complete Animals</span><br /><span style="font-family: "times" , "times new roman" , serif;"><a href="https://kinoslang.blogspot.com/2017/05/daniele-huillet-at-work.html" target="_blank">2017</a> - Huillet at Work (interview)</span></span></div><div style="background-color: black; color: #999999;"><span style="font-size: large;"><span style="font-family: times, times new roman, serif;"><a href="https://kinoslang.blogspot.com/2017/05/venez-maider-maider-mayday-may-day-may.html" target="_blank">2017</a> - Venez m'aider! (plus Duras on Othon)<br /></span><span style="font-family: "times" , "times new roman" , serif;"><a href="https://kinoslang.blogspot.com/2018/05/straub-huillet-talking-jms-jean-marie.html" target="_blank">2018</a> - Straub/Huillet/Talking (interview)</span><br /><span style="font-family: "times" , "times new roman" , serif;"><a href="https://kinoslang.blogspot.com/2019/05/daniele-huillet-born-may-1st.html" target="_blank">2019</a> - Born May 1st. . .</span></span></div><div style="background-color: black; color: #999999;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="https://kinoslang.blogspot.com/2020/05/this-is-what-i-meant-yesterday-when-i.html" target="_blank">2020</a> - We Caught a Political Conscience like One Catches Chickenpox</span></div><div><div style="background-color: black; color: #999999;"></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div><div style="background-color: black; color: #999999;"><br /></div></div><div style="background-color: black; color: #999999;"><span style="color: #e4e6eb; font-family: arial; font-size: xx-large; text-align: center;"> *</span></div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com1tag:blogger.com,1999:blog-18252740.post-16648904530087034382021-04-23T16:47:00.006-07:002021-04-24T12:25:34.396-07:00Rest in Peace, Monte Hellman 1929-2021<div><span style="background-color: black; color: #999999; font-size: large;"><span style="font-family: times;"><br /></span></span></div><div><span style="background-color: black; color: #999999; font-size: large;"><span style="font-family: times;"><br /></span></span></div><div><span style="background-color: black; color: #999999;"><span style="font-family: times;"><span style="font-size: large;">I</span><span style="font-size: large;">n memory of Monte Hellman, a great poet of the narrative cinema, we present below two crucial essays by Bill Krohn, two hard looks at Hellman's unsung films <i>Iguana </i>(1988) and <i>Silent Night, Deadly Night 3: Better Watch Out! </i>(1989) -- a swashbuckler and a slasher</span></span><span style="font-size: large;"><span style="font-family: times;">.</span><span style="font-family: times;"> </span></span></span></div><div><span style="background-color: black; color: #999999; font-family: times; font-size: large;"><br /></span></div><div><span style="background-color: black; color: #999999;"><span style="font-family: times; font-size: large;">As a prologue and way of traveling back in time in Hellman's filmography, I'm also inserting below a 2017 email from Bill Krohn to me; it was his response to </span><span style="font-size: large;"><span style="font-family: times;">my lament that, seven years after the release of <i>Road to Nowhere</i>, "the cycle has come around, even among cinephiles: Monte is forgotten once again." <span>Bill reversed my defensive into an offense move, emphasizing what had been achieved recently and was in the works with Hellman, and assures: </span></span><span style="font-family: times;">"</span><span style="font-family: times;">He's been forgotten as often as he's been discovered." </span></span></span></div><div><span style="background-color: black; color: #999999; font-family: times; font-size: large;"><br /></span></div><div><span style="background-color: black; color: #999999; font-family: times; font-size: large;"><div>Bill and Monte were friends and had a working relationship -- filmmaker to critic, critic to filmmaker -- that stretched back over 40 years, on a crossroads of Roger Corman and Alain Resnais, and right up to the era of headaches over DCP conversions (Bill could always say: "I have a guy..." and in the case of<i> Road to Nowhere</i>, Bill's guy "saved our lives many times," Hellman said). Hellman's work was of course produced by Corman in many ways (detailed by Bill in his texts), and Bill's first interview with Corman in 1977 helped define his role at the <span><i>Cahiers du cinéma</i></span><span>, to bring news and ideas of each, Hollywood and the <i>Cahiers</i>, to both. And to know the outsiders.</span></div><div> </div><div>Hellman's films and their metaphors, it seems to me, brought out the best in Bill as a writer and theorist, and at the very moment of the films' release. That<i> Iguana</i> and <i>Silent Night, Deadly Night 3: Better Watch Out! </i>were the latest films of a friend was not what propelled Bill alone, but that these films demanded it. Seen today, they seem like large objects in the filmography. And, 30 years after their publication, these texts remain the most serious and complex, but also handy, without a single word wasted, on these Hellman films ignored for no good reason. They remind: don't ignore the slightest gesture, on the screen or in an act of production. </div><div><br /></div><div>There was no one like Hellman. And this "no one like" is increasingly difficult to find in cinema. </div><div><br /></div><div style="text-align: right;">—AR</div><div><br /></div><div><br /></div><div style="text-align: center;">*</div></span></div><div><span style="background-color: black; color: #999999; font-family: times; font-size: large;"><br /></span></div><div><span style="background-color: black; color: #999999; font-family: times; font-size: large;">"<b>Monte Hellman and <i>Iguana</i></b>" was written in 1988 and originally published that year in the long-defuct Los Angeles cinephile newspaper <i>Modern Times; </i>it also appears in Bill Krohn's recent book of selected criticism <i><a href="https://www.sunypress.edu/p-6843-letters-from-hollywood.aspx" target="_blank">Letters From Hollywood</a> </i>in a slightly different version. </span></div><div><span style="background-color: black; color: #999999; font-family: times; font-size: large;"><br /></span></div><div><span style="background-color: black; color: #999999; font-size: large;"><span style="font-family: times;">"<b>The Summer of Sequels: Hellman and the Others</b>" appears</span><span style="font-family: times;"> here in English for the first time. It</span><span style="font-family: times;"> </span><span style="font-family: times;">was written in 1989 and published in French as "Hollywood à l'heure du déjà vu"</span><span style="font-family: times;"> in </span><i style="font-family: times;">Cahiers du cinéma, </i><span style="font-family: times;">no. 423 (September '89; the notorious <i>Batman </i>cover that for some signaled a decline and sell-out of the magazine: judge for yourself based on Bill's psychoanalysis of the very idea of Hollywood sequels here, and the minute attention paid to a pissed-upon Hellman movie). Thanks to Brad Stevens and Adrian Martin for helping save Bill's original typescript from oblivion. </span></span></div><div><span style="background-color: black; color: #999999; font-size: large;"><span style="font-family: times;"><br /></span></span></div><div><span style="background-color: black; color: #999999; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="background-color: black; color: #999999; font-size: large;">*</span></div><div style="font-family: arial;"><span style="background-color: black; color: #999999; font-family: arial; font-size: large;"><br /></span></div><p><span style="background-color: black; color: #999999; font-size: large;"> </span></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="background-color: black; color: #999999; font-family: arial; font-size: large;">From: Bill Krohn <bill_krohn aol.com="">Mar 29, 2017, 11:49 AM </bill_krohn></span><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;"><br /></span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;">ROAD TO NOWHERE was dumped on by<i> Cahiers du cinéma</i>, I think. Nobody got it, because it was such a huge leap forward. I wrote about it in <i>The Economist</i>, where my review, uncharacteristically, was run exactly as written, but the summit of his recognition in English-speaking territories was the two-disc <a href="https://www.criterion.com/boxsets/1073-the-shooting-ride-in-the-whirlwind" target="_blank">Criterion set</a> of THE SHOOTING and RIDE IN THE WHIRLWIND, with audio commentary recorded on a Sony soundstage by Blake Lucas, Monte (in the middle) and me as the films were shown to us on a big screen. Something about the set-up unlocked Monte's tongue, and he was downright voluble in explaining what he had done and why. </span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;"><br /></span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;">He had a fall recently, but when last we e-mailed he was still planning to make the second film in his <a href="https://s.yimg.com/ny/api/res/1.2/wALRM6m6k3BGM4QdJkl3EA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY3OC43ODc4Nzg3ODc4Nzg4/https://s.yimg.com/uu/api/res/1.2/3H8XKT4jsn9xmOvIvbQwTw--~B/aD01NjA7dz03OTI7YXBwaWQ9eXRhY2h5b24-/https://media.zenfs.com/en/la_times_articles_853/8185318cc01e145c54be79102eb5bf82" target="_blank">Shannyn Sossamon</a> diptych before retiring to Mexico. Originally called GHOST OF A CHANCE, it's now called LOVE OR DIE: murdered lovers who meet in the afterlife are given a chance to return to Earth and avoid death. Shannyn, who's very athletic, is going to spend the movie in one set -- evading a madman with a knife. The ROAD and GHOST are both scripts by <i>Variety</i> critic Steve Gaydos. <i>Variety</i>'s <i>eminence grise</i>, Peter Bart, appears in ROAD, which is a Hollywood story. </span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;"><br /></span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;">And let's not forget STANLEY'S GIRLFRIEND, the short made as part of the four-part anthology film TRAPPED ASHES, about the real reason Stanley Kubrick emigrated to England -- to escape his beautiful girlfriend, who has turned out to be a vampire. </span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;"><br /></span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;">As in SILENT NIGHT, DEADLY NIGHT 3: BETTER WATCH OUT!, he has been enjoying getting away from Ye Olde Natural Light and using constructed, lit sets -- the interiors on SNDN3:BWO! look like Christmas trees</span><span style="color: #cccccc; font-family: arial; font-size: large;">*</span><span style="color: #999999; font-family: arial; font-size: large;">. He's restlessly experimental and ever busy (cf. infra). ROAD was shot on practical locations using a digital camera, which he discovered could be made to look like 35mm, but the film-with-the-film structure was so elaborate that it flew right by everyone. </span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;"><br /></span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;">Forgotten by young cinephiles? I'm not surprised. He's been forgotten as often as he has been discovered, and the last period, with no TWO-LANE BLACKTOPS, is not exactly fodder for the young: </span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;"><br /></span></bill_krohn></div><div><bill_krohn aol.com="" style="background-color: black;"><span style="color: #999999; font-family: arial; font-size: large;">2013 Venice 70: Future Reloaded (segment: "Vive L'Amour") </span></bill_krohn></div><div><span style="background-color: black; color: #999999; font-family: arial; font-size: large;"><bill_krohn aol.com="">2010 </bill_krohn>Road to Nowhere </span></div><div><span style="background-color: black; color: #999999; font-family: arial; font-size: large;">2007 Make it Three Yards: A Conversation with James Taylor</span></div><div><span style="background-color: black; color: #999999; font-family: arial; font-size: large;">2007 Somewhere Near Salinas: A Conversation with Kris Kristofferson</span></div><div><span style="background-color: black; color: #999999; font-family: arial; font-size: large;">2006 Trapped Ashes (segment: "Stanley's Girlfriend") </span></div><div><span style="background-color: black; color: #999999; font-family: arial; font-size: large;">1989 Silent Night, Deadly Night 3: Better Watch Out! </span></div><div><span style="background-color: black; color: #999999; font-family: arial; font-size: large;">1988 Iguana </span></div><div><span style="font-size: large;"><br /></span></div></blockquote><div><bill_krohn aol.com=""><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-size: large;">*</span></div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9affpaFPUJhlGm0hSYGJtoAVeizgJEvG-Fp9nZI6pMegLA9hioWnYRXpUoRXKtd9aFd19nvcWi7OwYqSMRk8S2-vKCr8Hy_3oiVb4nHkycqqCVLXAyzn0BINPlbbKgbLln8o-/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="690" data-original-width="1280" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9affpaFPUJhlGm0hSYGJtoAVeizgJEvG-Fp9nZI6pMegLA9hioWnYRXpUoRXKtd9aFd19nvcWi7OwYqSMRk8S2-vKCr8Hy_3oiVb4nHkycqqCVLXAyzn0BINPlbbKgbLln8o-/w851-h460/vlcsnap-2021-04-22-17h17m15s351.png" width="851" /></a></div><br /><br /></div><br /><p></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="color: #999999; font-family: times; font-size: x-large;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="color: #999999; font-family: times; font-size: x-large;"><b>Monte Hellman and <i>Iguana</i><span class="Apple-converted-space"> </span></b></span></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 23px; text-align: center;"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 23px; text-align: center;"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 23px; text-align: center;"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">Monte Hellman’s <i>Iguana</i> (1988) tells the story of Oberlus (Everett McGill), a harpooner on<b> </b><span class="s2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">a</span><span class="s3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span>nineteenth-century whaling ship who flees to an uninhabited island in the Galapagos chain to escape persecution at the hands of his shipmates because of his monstrous appearance.<span class="Apple-converted-space"> </span><span class="s4">Oberlus, who has been deformed from birth, has been afflicted with a face that appears to be half-human, half-lizard</span><span class="s5">.<span class="Apple-converted-space"> </span></span> Recaptured and tortured by his chief persecutor, Captain Gamboa (Fabio Testi), <span class="s4">he</span> escapes again and declares war on <span class="s1">all </span>mankind.<span class="Apple-converted-space"> </span>He captures and enslaves four sailors stranded on the island who become his subjects in a kingdom built on force and terror, and he also captures a woman, an aristocratic Spanish libertine named Carmen (Maru Valdivielso), with whom he has a sadomasochistic love affair that becomes the emotional core of the film.<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="color: #999999; font-family: times; font-size: large;"><b>The Melville Connection</b></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">But the stability of Oberlus’s kingdom is menaced by two events:<span class="Apple-converted-space"> </span>Carmen’s father decides to lead a mission to the island to find his daughter, and Gamboa’s ship returns to the harbor.<span class="Apple-converted-space"> </span>Stealing aboard in the middle of the night, Oberlus captures Gamboa and burns the ship, and when Gamboa attempts to escape in his turn, Oberlus kills him in a savage duel.<span class="Apple-converted-space"> </span>As the rescue party closes in on his hiding place, Oberlus prepares to lead his surviving subjects off the island in a small boat, at the very moment Carmen is about to give birth to a child.<span class="Apple-converted-space"> </span>The film ends with an extraordinary gesture by Oberlus which reaffirms his status as a man resolved to live outside any laws but his own.<span class="Apple-converted-space"> </span>The last shot recalls the ending of Fritz Lang’s <i>Moonfleet</i> (1955).<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="s4">When <i>Iguana</i> opened it had</span> been ten years since we <span class="s4">had</span> heard from Monte Hellman.<span class="Apple-converted-space"> </span>His last film, <i>China 9, Liberty 37</i> (1978), <span class="s4">was</span> a western full of strange and wonderful surprises, and with <i>Iguana</i> he <span class="s4">brought back</span> to life <span class="s1">again</span> an <i>imaginaire</i> of sailing ships, pirates, smugglers, and South Sea desert islands previously embodied in the films of Lang, De Mille, Jacques Tourneur, Allan Dwan, and Raoul Walsh, who would have been right at home with this story of a proletarian hero-villain in love with a beautiful aristocrat. </span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">But like <i>China 9,</i> whose story resembles a folk ballad about loving and killing more than a Hollywood western, <span class="s4"><i>Iguana</i></span> renews the mythology of the sea adventure by a return to its literary roots:<span class="Apple-converted-space"> </span>not the novel Hellman adapted, a best-seller by the Spanish writer Alberto-Vasquez Figueroa, but Figueroa’s unacknowledged source, which <span class="s4">was</span> Herman Melville.<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXEDLhgUk130TOexFiqc3WoTFvc5JvFdA9HuvcUGZQXg_mPetE04YvbdUPghOcHEL3FPRkYW6LAdFPQ9qGMHZo8d3XVqMhVbf1sezzA0BtpLTD3uMLdy1bu-KV0cOPvxv7Krar/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="690" data-original-width="1280" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXEDLhgUk130TOexFiqc3WoTFvc5JvFdA9HuvcUGZQXg_mPetE04YvbdUPghOcHEL3FPRkYW6LAdFPQ9qGMHZo8d3XVqMhVbf1sezzA0BtpLTD3uMLdy1bu-KV0cOPvxv7Krar/w840-h454/vlcsnap-2021-04-22-17h12m16s793.png" width="840" /></a></div><br /><br /><p></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">For while the film’s hero is based on a real nineteenth-century figure, Patrick Watkins, it was Melville who gave Watkins the name Oberlus when he told his sordid story in “Hood Island and the Hermit Oberlus,” the ninth sketch in the series of sketches of life in the Galapagos called <i>The Encantadas or Enchanted Islands</i>.<span class="Apple-converted-space"> </span>Hellman learned of the Melville story only once the film was finished. Nevertheless, it is the spirit of Melville, caught in the pages of Figueroa’s sensational novel, that informs <i>Iguana</i> from the first shot of the tattoo on Oberlus’s forearm.<span class="Apple-converted-space"> </span>In the blue-filtered night scene when we first see him praying to the gods of Haiti, Oberlus’s face recalls the tattooed face of the heathen harpooner Queequeg in <i>Moby-Dick</i>, although <span class="s4">it’s </span>Ahab he comes to resemble in his tyrannical conduct and his self-annihilating quest for revenge.<span class="Apple-converted-space"> </span>This tragic interpretation of the character also originated with Melville, who saw the failed ambitions of the misanthropic Oberlus as a mirror of his own condition, after the twin disasters of <i>Moby-Dick</i> and <i>Pierre</i>.<span class="Apple-converted-space"> </span></span></p><p></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><br /></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">And Monte Hellman? I have no wish to add to the overly dark portrait that his admirers have painted of him.<span class="Apple-converted-space"> </span>It suffices to quote what Hellman himself said in Serge Le Peron’s brief interview for our <span class="s4">March</span> 1982 “Made in USA” issue of <i>Cahiers du cinéma</i>, “Le solitaire de Laurel Canyon”:<span class="Apple-converted-space"> </span>concerning the state of Hollywood <span class="s4">("Vous êtes venu enquêter dans un desert" / “You have come to investigate a desert”</span>) and his own situation (“Je n’ai aucun ami dans le cinéma américain <span class="s4">/ </span>“I haven’t got a single friend in American cinema”).<span class="Apple-converted-space"> </span>To measure the terrible force of those words one thing must be understood:<span class="Apple-converted-space"> </span>they were spoken by<span class="s4"> </span>the most gifted American filmmaker of his generation after Cassavetes, whom he resembles in his solitude.<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="color: #999999; font-family: times; font-size: large;"><b>A Laconic Cinema</b></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">Hellman first made a name for himself in 1965 with two westerns, <i>The Shooting</i> and <i>Ride in the Whirlwind</i>, made back-to-back, each on a six-week schedule -- early masterpieces <span class="s4">that</span> were preceded by apprentice work:<span class="Apple-converted-space"> </span>a war movie and a thriller, <i>Back Door to Hell</i> and <i>Flight to Fury </i>(both 1964), made back-to-back in the Philippines on a similar schedule, and two horror films produced by <span class="s4">exploitation maestro</span> Roger Corman, <i>Beast from Haunted Cave</i> (1959) and <i>The Terror</i> (1963), the latter of which Corman co-directed and signed.<span class="Apple-converted-space"> </span>Then in 1971 came <i>Two-Lane Blacktop</i>, a road picture about car freaks <span class="s4">that </span>benefited from more press attention than all of Hellman’s other work combined, thanks to a studio promotional campaign and the work of a <span class="s4">smart</span> press attache.<span class="Apple-converted-space"> </span><i>Esquire</i> Magazine actually published the script while the movie was being made, announcing on its cover that <i>Two-Lane Blacktop</i> was going to be “the most important film of the Seventies,” but when it flopped despite good reviews the same magazine gave itself a “Dubious Achievement Award” for jumping the gun.<span class="Apple-converted-space"> </span>Between <i>Two</i><span class="s4"><b><i>-</i></b></span><i>Lane</i> and <i>Iguana</i> came two films:<span class="Apple-converted-space"> </span><i>Cockfighter</i> (1974), a picaresque tale about the South produced by Corman, and <i>China 9, Liberty 37</i>, a western produced by an Italian company and filmed in Spain in 1978.<span class="Apple-converted-space"> </span>A detail worth noting:<span class="Apple-converted-space"> </span>Hellman made five films with Jack Nicholson before he became a star and four with Warren Oates, to whose memory <i>Iguana</i> is dedicated.<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">Two articles <span class="s4">in the <i>Cahiers du cinema</i></span> by Sebastien Roulet on the early westerns and <span class="s4">by</span> Pascal Bonitzer on <i>Two-Lane Blacktop</i> convey the excitement these films provoked among <span class="s4">European</span> cinephiles when they first appeared.<span class="Apple-converted-space"> </span><span class="s4">(The two westerns were released theatrically in France and sold to TV in the US.)</span><b> </b>From one film to the next, whatever the subject or genre, a style and a vision were being elaborated within the great tradition of American cinema (Hellman is still a lover of Howard Hawks) -- a style and vision <span class="s4">that</span> were nonetheless radically new:<span class="Apple-converted-space"> </span>characters <span class="s4">without psychologies </span>who came from nowhere<span class="s6">;</span> wanderers without fixed destinations; American landscapes seen as if for the first time, nameless and mythic; a <span class="s4"><i>decoupage</i></span> that respected real time and made its slow unfolding, unpunctuated by climaxes, undistorted by “psychological” montage, the true subject of the film; an anti-melodramatic dramaturgy that substituted the encounter -- uncertain, shifting, always a little humorous -- for the duel <span class="s4">that</span> had been the master rhetorical figure of classical American cinema; open endings like the famous ending of <i>Two-Lane</i>, when the film burns in the projector gate.<span class="Apple-converted-space"> </span>Hellman’s is an existential cinema in many ways like that of Wim Wenders <span class="s1">(Wenders minus a certain thematic heaviness that is indissociably linked to his name)</span><span class="s4">,</span> but Wenders didn’t make his first short until 1967, and his first feature until 1970.<span class="Apple-converted-space"> </span>And Wenders didn’t make westerns.<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">One trait characterizes the Hellman hero from the beginning:<span class="Apple-converted-space"> </span>his reluctance to speak.<span class="Apple-converted-space"> </span>Willet (Oates) in <i>The Shooting</i>, unlike his young friend Coley (Will Hutchens), knows when to keep his mouth shut, <span class="s4">while</span> Wes (Nicholson) in <i>Whirlwind</i> is more than once annoyed at the need of his older friend Vern (Cameron Mitchell) to pass the time with pointless conversation.<span class="Apple-converted-space"> </span>Wes and Willet <span class="s4">survive, and their</span> companions perish.<span class="Apple-converted-space"> </span>We know in advance that the heroes of <i>Two-Lane</i> (James Taylor and Dennis Wilson) will win their cross-country race with the blabbermouth GTO (Oates), because they are laconic in the extreme; when they do talk, <span class="s4">it’s</span> only to discuss technical matters pertaining to their car.<span class="Apple-converted-space"> </span>(Hellman himself is the kind of filmmaker who is most at ease when he is talking about technical matters.<span class="Apple-converted-space"> </span>Before he showed me <i>Iguana</i>, he regaled me with an elaborate demonstration of his new <span class="s4">videotape recorder</span>, and after the screening we talked <span class="s1">at some length</span> about his obsession with direct sound and his respect for the abilities of his post-production supervisor Cesare D’Amico, who enabled him to use dialogue recorded in close proximity to crashing waves.)<span class="Apple-converted-space"> </span>Even the unheroic Marty (Richard Sinatra) in <i>Beast from Haunted Cave</i>, the only member of the gang of bank robbers making their getaway on skis who ever sees the Beast that is pursuing them (a giant spider), refuses to tell the others what he has seen, on the improbable pretext that they “wouldn’t believe him” if he did -- and just as improbably, when the Beast attacks the </span><span style="font-size: large;"><span style="color: #999999; font-family: times;">group at the end, Marty survives.</span><span class="Apple-converted-space" style="color: #999999; font-family: times;"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="Apple-converted-space" style="color: #999999; font-family: times; font-size: x-large;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHubNPdvqE9IYVJJk_8WS4d50QW3_csPNgxT6-AhBdcmLIcZ76ERlqmZua0Kt14Qw6tvdj2baGi6W4InhAtwceTWJjJMrTRUdXMMKjvFD4GuhB5Ewh7OGuHOBGJ5fkt5vP9mGx/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="470" data-original-width="832" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHubNPdvqE9IYVJJk_8WS4d50QW3_csPNgxT6-AhBdcmLIcZ76ERlqmZua0Kt14Qw6tvdj2baGi6W4InhAtwceTWJjJMrTRUdXMMKjvFD4GuhB5Ewh7OGuHOBGJ5fkt5vP9mGx/w421-h238/cockfighter.jpeg" width="421" /></a></div><br /><br /></div><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">In the early films this trait is first of all the sign of the hero’s difference, which it was tempting to interpret as a state of spiritual election until Hellman made <i>Cockfighter</i>, a film <span class="s4">that</span> radicalized the trait and finally made its significance clear.<span class="Apple-converted-space"> </span>The hero of that film, a professional cockfighter named Frank (Oates), is completely mute by choice -- a choice based, logically in view of the rest of <span class="s4">Hellman’s </span>oeuvre, on the fear that talking brings bad luck.<span class="Apple-converted-space"> </span>Before the beginning of the film<b> </b>Frank lost his chance to win the coveted “Cockfighter of the Year” award because, on the eve of the contest, he bragged too much about his chances and was forced into a premature test of his champion cock’s mettle, during which the cock was killed.<span class="Apple-converted-space"> </span>Now Frank has vowed silence until he wins the award.<span class="Apple-converted-space"> </span><span class="s6">T</span>he hero’s silence, <span class="s4">however, can’t</span> be read as a sign of election, because it is broken by intermittent voiceover thoughts that undercut any spiritual interpretation (but not the magical one:<span class="Apple-converted-space"> </span>Frank does indeed go on to become “Cockfighter of the Year”).<span class="Apple-converted-space"> </span>Instead, as we savor Warren Oates’s <span class="s1">brilliant</span> performance, we discover a whole language of gestures <span class="s4">that</span><span class="s6"> </span>Frank deploys to communicate with others, ranging from mimed proverbs (literally “burying the hatchet” to signify the end of a match) to the shocking symbol that concludes the film, when he twists off the head of his champion cock and forces the woman he loves to take it in her hand -- a hieroglyphic language which<span class="s4">, in a film that uses the resources of cinema this cannily,</span><span class="s7"> </span>it is impossible not to read as “cinema” (= “writing with images”).<span class="Apple-converted-space"> </span>In retrospect, the silence of Hellman’s heroes is revealed <span class="s4">to be</span> an aesthetic choice:<span class="Apple-converted-space"> </span>the refusal of overt or overly facile messages. <span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggLvVgowbJsjX0BgrCCSXSOgIRGolwi15YUn2ohc6jrEWLdRfAgd7s9rNLRBEkvyWYrWIwPiQ4pHmTbAGNaH1MWwSnpL_vgzKazE5mga7xBz6uCjWMFllrHwAvXrrhyphenhyphenewinxRf/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="690" data-original-width="1280" height="469" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggLvVgowbJsjX0BgrCCSXSOgIRGolwi15YUn2ohc6jrEWLdRfAgd7s9rNLRBEkvyWYrWIwPiQ4pHmTbAGNaH1MWwSnpL_vgzKazE5mga7xBz6uCjWMFllrHwAvXrrhyphenhyphenewinxRf/w867-h469/vlcsnap-2021-04-21-23h24m24s412.png" width="867" /></a></div><br /><br /><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">An anecdote:<span class="Apple-converted-space"> </span>when a mutilated version of <i>Cockfighter</i> opened in Los Angeles, it played the bottom half of double bills with another Corman production, <i>Jackson County Jail</i> (1976), whose director, Michael Miller, had used every cliche of movies about the South to tell a heavy-handedly “feminist” tale of rape and revenge, ending with a shootout under the American flag, and that film actually got a better review from the <i>New York Times </i>than <i>Cockfighter</i>.<span class="Apple-converted-space"> </span>When I asked Roger Corman why he thought that was, he replied that the film’s commercial failure may have resulted from the fact that “Monte made a quieter film than I had anticipated.”<span class="Apple-converted-space"> </span><span class="s4">The </span>adjective has always struck me as absolutely accurate<span class="s6">, </span><span class="s4">but </span>the refusal to be governed by the ready-made connotations (implicit significations) of one’s material does not <span class="s1">at all</span> imply a refusal to “write.”<span class="Apple-converted-space"> </span>On the contrary, it takes a kind of mastery rarely found today to stem, select, and channel the stream of connotations automatically unleashed by a subject as loaded as cockfighting in the state of Georgia into an optimistic film about America where little surrealisms (a bathtub full of dead cocks, a robber of cockfighters wearing a Nixon mask) can just pop up without the ponderous sociological significance they would have in a Jonathan Demme film,<span class="s1"> and where a theme like racism can appear with approximately the emphasis it would receive in real life (one pretty bad Polish joke).<span class="Apple-converted-space"> </span></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="s1"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="s1"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="color: #999999; font-family: times; font-size: large;"><b>Oberlus</b></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">All this serves to emphasize the paradoxical quality of the double gesture that defines the hero of <i>Iguana</i>:<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">On the one hand, Oberlus, illiterate at the beginning of the film, forces one of his subjects, an educated sailor who is keeping a diary, to teach him to read and write.<span class="Apple-converted-space"> </span>All that we see of Oberlus’s skill, however, is two scenes where he refers in passing to <i>Don Quixote</i> and <i>The Odyssey</i> and one shot of him alone on a rock holding a spyglass -- another symbol of his newly-won power -- and writing.<span class="Apple-converted-space"> </span>Pointedly associated with the act of seeing, Oberlus’s writing, like Frank’s language of gestures, <span class="s4">is</span> a metaphor for cinema.</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><br /></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">And indeed in <i>Iguana</i> Hellman deploys, more overtly than in his previous films, a whole system of “writing” that begins with the literal mark of difference on the hero’s face (like Lang in <i>The Big Heat</i> [1953<span class="s4">], where Gloria Grahame’s character has one side of her face burned with scalding coffee,</span> and Preminger in <i>Tell Me That You Love Me, Junie Moon </i>[1970<span class="s4">], where Liza Minnelli plays a character whose face has been scarred by acid,</span> Hellman <span class="s4">is inspired by</span> filming a face that is divided between beauty and monstrousness, humanity and bestiality) and extends to every variety of difference and repetition:<span class="Apple-converted-space"> </span>the parallel montage of scenes at the beginning <span class="s4">that</span> establish Oberlus and Carmen <span class="s1">-- who wishes to freely gratify her sexual desires like a man -- </span>as twin monsters in the eyes of society; the use of music to underline the similarity of the opening and closing credit sequences, and the terrible circularity of Oberlus’s voyage (all the voyages in Hellman’s films are circular); the presence of reflections in mirrors and water in the scenes where Carmen manipulates the men in her life<span class="s6">,</span> and rhymes like the scar on Carmen’s father’s cheek (“A little Freud for the critics,” says Hellman <span class="s4">drily</span>), or the red cover on the bed in the scene where we see her with her husband, which reappears mysteriously on the bed in Oberlus’s cave.<span class="Apple-converted-space"> </span>Like Hellman’s previous films, but in a much more overt and self-consciously symbolic way, the film is “written” from the first shot to the last:<span class="Apple-converted-space"> </span><i>Iguana</i> is Monte Hellman’s first art film.<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpCPq59ZiO0neBgqFiDNhr6ZU9NuTsS_TFu2yRy_st5oTxP3S34uGekUYZUj6iw4GbktCg8-rr-FJn6RxUG1Fuzdv5G42HF1aNBIbLs29giNRfWLaH_aL6rtDmnHILh_6pYnp/" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="690" data-original-width="1280" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpCPq59ZiO0neBgqFiDNhr6ZU9NuTsS_TFu2yRy_st5oTxP3S34uGekUYZUj6iw4GbktCg8-rr-FJn6RxUG1Fuzdv5G42HF1aNBIbLs29giNRfWLaH_aL6rtDmnHILh_6pYnp/w880-h475/vlcsnap-2021-04-21-22h31m07s121.png" width="880" /></a></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKe4hNK8TYiRkSP2fxIoy84WFgKmDpoOAekZqub_Y1K3pcGLtJ2Cnhyt91py0T82HXiNRfmc8eThnJ3F4YQ1VyAon4GsozxMJ9a2F5YIDJF7y7b-t3opXbOH1UlZsb1ZGvNX1O/" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="690" data-original-width="1280" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKe4hNK8TYiRkSP2fxIoy84WFgKmDpoOAekZqub_Y1K3pcGLtJ2Cnhyt91py0T82HXiNRfmc8eThnJ3F4YQ1VyAon4GsozxMJ9a2F5YIDJF7y7b-t3opXbOH1UlZsb1ZGvNX1O/w880-h475/vlcsnap-2021-04-21-22h29m54s479.png" width="880" /></a></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">On the other hand, Oberlus speaks, <span class="s4">quite a bit</span>.<span class="Apple-converted-space"> </span>In fact, from the moment he declares, “From now on, I will make my own gods and devils,” the main instrument by which he constructs his new world is speech.<span class="Apple-converted-space"> </span>He enacts laws and enunciates the basis of his power to do so; he compares and contrasts his actions to those of “real kings”; he calls his subjects his “children” (“A little Freud for the critics . . .”); he explains to Carmen, in the crudest terms, the nature of her own masochistic enjoyment; he argues that he and she are both “monsters” but also explains the difference between them; he defines his own nature by talking about himself simultaneously in the first and the third persons; he engages in a refined moral calculus with Gamboa; he predicts his own last action, and explains his reasons before performing it.<span class="Apple-converted-space"> </span>Everything the film shows (“writes,” connotes), Oberlus <i>says</i>, and always in the same harsh, even, bitterly rational voice.<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="Apple-converted-space" style="color: #999999; font-family: times;"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;">Which considerably subverts a fundamental law of the filmmaker’s chosen “genre.”<span class="Apple-converted-space"> </span>One example:<span class="Apple-converted-space"> </span><span class="s6">a</span>rt-house audiences may enjoy reading the heroine’s masochistic pleasure in her face during the scene of the rape, but when the rapist takes the time to explain to her (like a true Sadean libertine), “You liked being my slave and getting screwed in the ass.<span class="Apple-converted-space"> </span>You’ll have trouble finding someone else like me,” their own pleasure is blocked, or worse:<span class="Apple-converted-space"> </span>turned to derision.<span class="Apple-converted-space"> </span>Combined with a new self-consciousness about the act of writing, this massive return of denotation creates a singular <span class="s4">form</span>, as if the voiceover from a militant film of the early Seventies had been added to, say, Louis Malle’s <i>Au revoir les enfants </i>(1987). A <span class="s4">form<i> </i>that</span> deviates only in appearance from the rigorous logic with which Hellman has elaborated his oeuvre until now, except that, from <i>Cockfighter</i> to <i>Iguana</i>, the nature of the hero’s sacrifice has changed:<span class="Apple-converted-space"> </span>from a gift of love (to the woman, but also the spectator) to an act of self-mutilation <span class="s4">(drowning his own newborn child) that </span>condemns Carmen to the lucidity she had thought to escape (“My child will save me,” she had said).<span class="Apple-converted-space"> </span>A new way to <span class="s4">“wring the neck of eloquence (Mallarme)”</span>; a new way to make the spectator experience pleasures he has never known before, while imposing on him a lucidity that he has never really desired.<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><br /></span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNFI8Yr-f5pLD7UbPE3Zo3R79G96RF3p5idgSZQPM9XU22hK1XNiniu-TP-4NhLW7ESeEh9kV527HWPzoCHsnnboOXcE_a98s_v7hLdEb4eUFPGNAY-o0XE1BiyW5rOnAj7RpV/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="690" data-original-width="1280" height="469" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNFI8Yr-f5pLD7UbPE3Zo3R79G96RF3p5idgSZQPM9XU22hK1XNiniu-TP-4NhLW7ESeEh9kV527HWPzoCHsnnboOXcE_a98s_v7hLdEb4eUFPGNAY-o0XE1BiyW5rOnAj7RpV/w866-h469/vlcsnap-2021-04-21-22h41m04s613.png" width="866" /></a></span></span></div><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><br /></span></span><p></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><span class="Apple-converted-space"><br /></span></span></p><p class="p4" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 18px;"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="color: #999999; font-family: times; font-size: large;"><b><u>Notations</u></b></span></p><span style="font-size: large;"><span style="color: #999999; font-family: times;">Born Monte Himmelbaum on July 12, 1932, in New York City , Hellman attended Los Angeles High School after his family moved to LA, then worked as an editor's apprentice at </span><span class="s8" style="color: #999999; font-family: times;">ABC TV</span><span style="color: #999999; font-family: times;"> before attending Stanford University on a scholarship from ABC.</span><span class="Apple-converted-space" style="color: #999999; font-family: times;"> </span><span style="color: #999999; font-family: times;">He worked as an editor on Roger Corman’s </span><i style="color: #999999; font-family: times;">The Wild Angels</i><span style="color: #999999; font-family: times;"> (1966), Bob Rafelson's </span><i style="color: #999999; font-family: times;">Head</i><span style="color: #999999; font-family: times;"> (1968), Sam Peckinpah's </span><i style="color: #999999; font-family: times;">The Killer Elite</i><span style="color: #999999; font-family: times;"> (1975) and Jonathan Demme's </span><i style="color: #999999; font-family: times;">Fighting Mad</i><span style="color: #999999; font-family: times;"> (1976), and he shot extra scenes for Mark Robson’s </span><i style="color: #999999; font-family: times;">Avalanche Express</i><span style="color: #999999; font-family: times;"> when Robson died before finishing the film.</span><span class="Apple-converted-space" style="color: #999999; font-family: times;"> </span><span style="color: #999999; font-family: times;">When Corman sold </span><i style="color: #999999; font-family: times;">Ski Troop Attack</i><span style="color: #999999; font-family: times;"> (1960), </span><i style="color: #999999; font-family: times;">Last Woman on Earth</i><span style="color: #999999; font-family: times;"> (1960) and </span><i style="color: #999999; font-family: times;">Creature from the Haunted Sea</i><span style="color: #999999; font-family: times;"> (1961) to television, Hellman shot extra footage to pad the running time of the films, and when American television bought Sergio Leone’s </span><i style="color: #999999; font-family: times;">A Fistful of Dollars</i><span style="color: #999999; font-family: times;"> (1964), he shot a prologue with a Clint Eastwood lookalike, filmed from behind, being let out of jail and deputized to clean up a bad town, thereby making all the gun-downs by Eastwood in the film legal.</span><span class="Apple-converted-space" style="color: #999999; font-family: times;"> </span><span style="color: #999999; font-family: times;">Legend has it that Corman lent Hellman $500 to produce and direct a stage production of Samuel Beckett’s </span><i style="color: #999999; font-family: times;">Waiting for Godot</i><span style="color: #999999; font-family: times;"> at a neighborhood theater in LA and lost every cent of his investment.</span><br /><span style="color: #999999; font-family: times;"><br /></span><span style="color: #999999; font-family: times;">The Sebastian Roulet article, “Cinq points de rupture,” is in </span><i style="color: #999999; font-family: times;">Cahiers du Cinéma </i><span style="color: #999999; font-family: times;">No. 205 (October 1968): 57-58.</span><span class="Apple-converted-space" style="color: #999999; font-family: times;"> </span><br /><span style="color: #999999; font-family: times;"><br /></span><span style="color: #999999; font-family: times;">Pascal <span class="s4">Bonitzer’s article </span>on <i>Two-Lane Blacktop, </i><span class="s4">which elaborates the theory of the duel, and Hellman’s subversion of it,</span><i> </i>is in </span><i style="color: #999999; font-family: times;">Cahiers du Cinéma </i><span style="color: #999999; font-family: times;">No. 266-7 (May 1976): 68-69.</span><span class="Apple-converted-space" style="color: #999999; font-family: times;"> </span><br /><span style="color: #999999; font-family: times;"><br /></span><span style="color: #999999; font-family: times;">My discussion with Roger </span><span class="s4" style="color: #999999; font-family: times;">C</span><span style="color: #999999; font-family: times;">orman is in </span><i style="color: #999999; font-family: times;">Cahiers du Cinéma </i><span style="color: #999999; font-family: times;">No. 296 (January 1979): 29-33.</span><br /><span style="color: #999999; font-family: times;"><br /></span><span style="color: #999999; font-family: times;">Hellman did subsequently venture an interpretation of </span><i style="color: #999999; font-family: times;">Iguana</i><span style="color: #999999; font-family: times;">, which he sees as the first film of a trilogy based on the myth of Persephone that continued in </span><i style="color: #999999; font-family: times;">Silent Night, Deadly Night 3: Better Watch Out!</i><b style="color: #999999; font-family: times;"> </b><span style="color: #999999; font-family: times;">and </span><i style="color: #999999; font-family: times;">Stanley’s Girlfriend</i><span style="color: #999999; font-family: times;">. </span><br /><br /></span><p class="p7" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s9"><span style="color: #999999; font-family: times; font-size: large;">"Le solitaire de Laurel Canyon" was done by <i>Cahiers</i> editors who came over in 1982 to do a special issue about American cinema. It ended up being two issue, March and April 1982.</span></span></p><p class="p7" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s9"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span class="s9"><span style="color: #999999; font-family: times; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p class="p7" style="color: black; font-family: Times; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: right;"><span class="s9"><span style="color: #999999; font-family: times; font-size: large;">Bill Krohn</span></span></p><div><span class="s9"><span style="color: #999999; font-family: times; font-size: large;"><br /></span></span></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;">*</div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /></span></span></div><span class="s9"><span style="font-family: times;"><div style="color: #999999; text-align: center;"><span style="font-size: x-large;"><u>LETTER FROM HOLLYWOOD</u></span></div><div style="color: #999999; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="color: #999999; text-align: center;"><span style="font-size: x-large;">THE SUMMER OF SEQUELS: </span></div><div style="color: #999999; text-align: center;"><span style="font-size: x-large;">HELLMAN AND THE OTHERS</span><span style="font-size: large;"> </span></div><div style="color: #999999; font-size: x-large;"><br /></div><div style="color: #999999; font-size: x-large;"><br /></div><div style="color: #999999; text-align: center;"><span style="font-size: large;"><b>Deja vu!</b></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">In Monte Hellman's latest film, <i>Better Watch Out!</i>, a cop (Robert Culp) chasing a deranged killer asks the scientist (Richard Beymer) who unleashed the killer: "What do you call it when you have <i>deja vu</i> twice?" No reply from the stuffy scientist. "Stupid!" says the cop in answer to his own question, and breaks into prolonged, maniacal laughter. This joke has a history: The book<i> Baseball Humor</i> credits it to Billy Martin, the long-time manager of the New York Yankees. But the excessive length of Culp's laugh -- and everything in Culp's performance is excessive -- invites the viewer, unaccustomed to such pleasures, to think: Why is this man laughing? The answer I hit on, which pleased Hellman, is that he is laughing about the film he is in, whose full title is <i>Silent Night, Deadly Night III: Better Watch Out!.</i> And with good reason. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCHzkbsU3gySSSdtMd4QxZdPcJwqADBYzLMLEWtjOjZV0Nsn0SQYcGLga5wNAHRZ_Neb7vYgWf_Y1vOaH15jT0BmFVr1PH7kKTaoVGHWLkNqU8uiRShmbSihux-goGLhS3viiI/" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img alt="" data-original-height="522" data-original-width="694" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCHzkbsU3gySSSdtMd4QxZdPcJwqADBYzLMLEWtjOjZV0Nsn0SQYcGLga5wNAHRZ_Neb7vYgWf_Y1vOaH15jT0BmFVr1PH7kKTaoVGHWLkNqU8uiRShmbSihux-goGLhS3viiI/w554-h416/vlcsnap-2021-04-21-20h12m29s923.png" width="554" /></span></a></div><span style="font-size: large;"><br /><br /></span></div><div style="color: #999999;"><span style="font-size: large;">For Monte Hellman's new film is a sequel -- the second sequel, in fact -- to one of the most despised examples of the most despised genre in contemporary Hollywood: <i>Silent Night, Deadly Night</i> (Charles Seiler, 1984) is a slasher film which was actually picketed when it was first released in theaters because it is about a homicidal maniac in a Santa Claus costume. In the first sequel, the Santa slasher idea was prudently dropped: Instead, a little boy named Ricky who was traumatized by the events of <i>Silent Night, Deadly Night I</i> grows up to be a slasher himself and has the top of his head blown off by the police in the last scene. But in <i>Silent Night, Deadly Night III: Better Watch Out!</i>, Ricky, equipped by thoughtful doctors with a pump that keeps blood circulating in his brain (plainly visible through a transparent skull), is revived from a coma and takes off in pursuit of the blind girl whose attempts to contact him telepathically, as part of a parapsychological experiment being conducted by Beymer, have awakened him to kill again. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><span>In this context, Culp's little joke is a pointed reminder to Beymer that when disaster strikes a third time, we have only our own stupidity to blame -- a remark that could apply as well to people who make sequels, which invariably hit an all-time low when the Roman numeral three is affixed to the title. (This rule was emphatically confirmed six years ago when the producers of <i>Jaws</i>, <i>Friday the 13th</i> and <i>The Amityville Horror</i> all simultaneously came up with the idea of doing "number three" in 3-D). Of course, you couldn't prove it by the boxoffice figures for this summer, when it seemed that each new sequel that opened was going to break the opening-weekend record set by the sequel that opened just before it, until <i>Batman</i> came along and rewrote the book on opening-weekend records, probably for all time. But the esthetic consequences of this strategy, which were on view during the first weeks of summer, were dreadful:<i> Indiana Jones and the Last Crusade</i>, a lifeless "romp" that actually made me yearn for the gory excesses of<i> Indiana Jones and the Temple of Doom</i>; <i>Star Trek V: The Final Frontier</i>, whose quest for Kubrickian sublimity was hopelessly hamstrung by William Shatner's Sam Woodian mise en</span><span> <span face="freight-text-pro">scène</span>; <i>Ghostbusters II</i>, the pits. </span></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">There's no denying that the strategy still works: Even the<i> Star Trek</i> film, which appalled all but the most devoted "Trekkies," has made about $50 million, while <i>Indiana Jones III</i> has pulled in $180 million to date, and<i> Ghostbusters II</i> racked up $104 million before word got around that everyone in the film but Rick Moranis was </span></div><div style="color: #999999;"><span style="font-size: large;">walking in his sleep. Audiences, like children, never seem to tire of the Same: After publicly apologizing for betraying the spirit of the first <i>Indiana Jones</i> in the sequel, Lucas and Spielberg won favor with critics and audiences alike by making <i>The Last Crusade</i> an exact copy of <i>Raiders of the Lost Ark</i>, while Ivan Reitman and his collaborators actually counted on audiences finding their imaginative exhaustion funny (a walking Statue of Liberty in place of the Stay-Puft Marshmallow Man, etc.), like an old stand-up comic who gets laughs out of the fact that he hasn't thought of a new joke in years. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">But there are also signs that the filmmakers were thinking about the implications of all this: The makers of <i>Ghostbusters</i> seem to be defending themselves against the well-publicized charges of greed hurled at them by former Columbia head David Puttnam, when they covertly satirize Puttnam, the man who almost kept the "long-awaited" sequel from happening, via the character of the politician with the piercing blue eyes who has gotten a court injunction to prevent Murray and Company from busting ghosts -- until all hell breaks loose and the inhabitants of New York City, who are portrayed unambiguously as an audience, are once again able to revel in their heroes' exploits. And I'm sure Spielberg and Lucas knew what they were doing when they cast Sean Connery, the original James Bond, as Indiana Jones' father -- a reflection on the origins of the character and the series alike which bears fruit in the Prologue, starring River Phoenix as the youthful Indiana, before degenerating into a series of witless exchanges hinging on Connery's irritating habit of calling Harrison Ford "Junior." </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999; text-align: center;"><span style="font-size: large;"><b>A film about repetition</b></span></div><div style="color: #999999; text-align: center;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">And yet, the history of Hollywood is rich in examples they might have followed had they wished to deepen these reflections. Many of our greatest filmmakers confined themselves to creating variations on the rigidly repetitive rules of one particular genre (Budd Boetticher's westerns with Randolph Scott are a particularly flagrant example), and the very idea of an "auteur" is predicated on the notion of repetition: Raoul Walsh, who must have produced every possible variation on the myth that underlies each of his films, spent much of the late Forties and Fifties remaking his pre-war masterpieces (<i>One Sunday Afternoon </i>= <i>Strawberry Blonde</i>, <i>Colorado Territory = </i></span><span style="font-size: large;"><i>High Sierra</i><span>, etc. . .), while Howard Hawks capped the enigma that was his career by making the same western (</span><i>Rio Bravo</i><span>) three times, ending with </span><i>Rio Lobo</i><span>, a film whose credit sequence evokes the idea of variation as a mathematical game with close-ups of the vibrating strings of a guitar which is playing the film's theme-song. </span></span></div><div style="color: #999999;"><span style="font-size: x-large;"><br /></span></div><div style="color: #999999;"><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFwLCLwFpdfdFbqAcNlcVbjiRwYNo7puvimnsQnoMpFl3SVaHysiSKo3pDjPFNCrhg2xS07AF0qaHPPFiQKVlufjNAfXxgTeBVQqJV_lcax_SrPQPmgOdFihuodJajZ_gc2Hlo/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="799" data-original-width="1280" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFwLCLwFpdfdFbqAcNlcVbjiRwYNo7puvimnsQnoMpFl3SVaHysiSKo3pDjPFNCrhg2xS07AF0qaHPPFiQKVlufjNAfXxgTeBVQqJV_lcax_SrPQPmgOdFihuodJajZ_gc2Hlo/w687-h430/rio+lobo+opening+guitar+.png" width="687" /></a></span></div></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">But for a coherent contemporary approach to the problem, we have to turn back to <i>Silent Night, Deadly Night III: Better Watch Out!</i>, where America's best filmmaker, after undertaking one notably successful youthful experiment with repetition and variation (the two westerns with Jack Nicholson and Millie Perkins) and putting his personal stamp on a number of classical genres, returns to the genre he started with, the low-budget horror film, and makes a sequel that raises serious questions about what it means to make a sequel. Certainly for Hellman fans, the most "personal" moments in this strange little film will be the scenes between Culp's profane cop and Beymer's polysyllabic scientist, wandering around in their car in the darkness on the edges of the story, discussing criminology, philosophy, psychology, parapsychology and cellular telephones while Ricky is busy at his bloody work somewhere down the road. But what is the subject to which their meandering dialogue keeps returning? Beymer, who thinks he was right to awaken Ricky from his coma, wants the sequel to be made, while Culp, who would prefer that he hadn't, does not. <i>Deja vu </i>two times, he says, is stupid -- to which Beymer will obliquely reply: "We're all guilty, of being stupid, irrational, doomed, and badly designed. Only science can restore our innocence. Ricky isn't a killer. He's a way to stop people from killing, like snake venom is a cure for snakebite." But if we're all stupid, it's because we're all caught up in the endless cycle of <i>deja vu</i>, because all films, for a long time now, are sequels, or remakes, when they aren't simply parodies, of films that have already been made. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">Like Ruiz's <i>Treasure Island</i>, which is about characters consciously reenacting Stevenson's story once a year as a game,<i> SNDN3:BWO!</i> is a film about repetition. One indication of the filmmaker's intentions: As Ricky is killing them off one by one, the other characters are watching scenes from <i>The Terror </i>(1963), the second horror film Hellman made for Roger Corman, on TV -- a significant choice, for apart from the obvious joke about cannibalizing one's own work, <i>The Terror</i> is the funniest example I know of Hollywood's habit of feeding on its own flesh. The story is well known: With two days left on Boris Karloff's contract for <i>The Raven</i>, Corman improvised part of a new film with him on the <i>Raven</i> sets, which he eventually turned over to Hellman to finish, signing it himself and releasing it as<i> The Terror</i>; then when Karloff sued for part of the profits, Corman made a deal for him to act in another film incorporating outtakes from <i>The Terror</i>, which became Peter Bogdanovich's first film, <i>Targets</i>. (As my cousin Margot said, "It's like when you make a souffle and you have some egg-whites left over, so you decide to make a cake...") By incorporating fragments of <i>The Terror</i> in yet another film (which also uses clips from <i>SNDN1</i>), Hellman has therefore added a third chapter ("What do you call it when you have <i>deja vu</i> twice?") to a Hollywood legend whose end is not yet in sight. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7lqcyVl_fiz1qxduO6xz84YcJJhd_jCdznAdVL8auBd3RP5ZLSnWNDN41r0r1sEvnH5iZXedp-IXbQsc4WbGQ5pxgrjNDVZnx8JSLesiu6ffTjMkXCRrh-OXhaxj0a2oS8M4v/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="522" data-original-width="694" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7lqcyVl_fiz1qxduO6xz84YcJJhd_jCdznAdVL8auBd3RP5ZLSnWNDN41r0r1sEvnH5iZXedp-IXbQsc4WbGQ5pxgrjNDVZnx8JSLesiu6ffTjMkXCRrh-OXhaxj0a2oS8M4v/w516-h388/vlcsnap-2021-04-21-20h10m26s432.png" width="516" /></a></div></div><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">For in the last analysis, the film shows Beymer, who hopes to stop the cycle of repetition by understanding Ricky, to be as wrong as Culp: Ricky is just a psychotic killer, and when Beymer sympathetically stretches his hand out to him, he is killed like the obsessed scientist in Howard Hawks' <i>The Thing</i>. His dying words to the detective -- "Don't be stupid!" -- are an admission of his failure: The cycle of repetition can't be stopped. As other doctors put the still breathing body of Ricky in the ambulance while Culp watches helplessly, one of them says, "If we hurry, we can still save this one!" But Beymer's speech about science can be interpreted differently: The only way to restore our innocence -- the innocence of seeing for the first time --is through the practice of homeopathy: i.e. more of the Same. By accepting repetition, by returning to the origin of the evil and making yet another slasher film, the most carbon-copied genre in Hollywood history (we are in the summer of <i>Friday the 13th, Part 8</i>), perhaps the filmmaker can teach us to see again. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"> </span></div><div style="color: #999999; text-align: center;"><span style="font-size: large;"><b>Le Même et l'Autre</b></span></div><div style="color: #999999; text-align: center;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><span>In point of fact, the idea of using <i>The Terror</i> came to Hellman late in the game; the script merely specifies that the characters are all watching a movie starring Boris Karloff, signifying that, for Hellman, taking the slasher genre and "making it new" means going back beyond <i>Halloween</i> and<i> Friday the 13th</i> to the real origin of the genre, which for him is James Whale's <i>Frankenstein</i>. (Curiously, Roger Corman seems to have had the same thought: As I write he is in Italy putting the finishing touches on <i>Roger Corman's Frankenstein Unbound</i>, his first film as a director in almost twenty years.) It is from <i>Frankenstein</i>, of course, that Hellman got his mad scientist, destroyed by the creature he made, but more important, by modeling <i>SNDN3:BWO!</i> on the film which set </span><span>the pattern for the classical horror film, he was able to portray differently the central figure of the modern horror film, which is the prototype for the cinema of sequels: the slasher. </span></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><span>For the corollary of the American cinema's obsession with the Same has always been the figure of the Other, which can still be seen in <i>Star Trek V</i> in its Hawksian form (the Klingons: enemies today, friends tomorrow), but which modern Hollywood films prefer to treat as an absolute (Nazis in <i>Indiana Jones III</i>, demons from hell in <i>Ghostbusters II</i>). In its purest form, this obsession produces the shark in <i>Jaws</i>, the film which started the vogue for sequels, and his</span><span> low-budget descendant, the slasher, who makes possible a serial cinema predicated on the acts of a serial killer. And it is precisely in the slasher film, beginning with John Carpenter's subjective travelling shots from the point of view of the Shape in <i>Halloween</i>, that a crucial fact about this configuration has become clear enough for even a Hollywood producer to understand: Since the slasher embodies the repressed desires of the audience, they identify as much with him as they do with his victims, who represent normality -- witness the enormous popularity, even with young children, of Freddy Kruger, the child-molester with steel claws who is the <i>raison d'etre</i> of the <i>Nightmare on Elm Street</i> series, the fifth episode of which opened last week. All that matters is that the dichotomy be maintained, so that the spectator can have the pleasure of alternately identifying with the slasher and his victim, until the slasher is ritually dispatched, to return in the sequel. </span></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">That is where Hellman, by going back to Whale's great film, renews the genre: Not by making Ricky sympathetic -- if anything, he is less psychological, more of a cypher even than Karloff's Monster -- but first of all, paradoxically, by keeping him at a distance. Except for one very short travelling shot, too short to function as anything but an index of menace, we are never put in the position of the omnipotent eye, prowling in search of prey; when we see things from Ricky's point of view, it is within the framework of the classical shot-reverse shot, which signifies, on the contrary, the equality and co-presence of Ricky and his victims. By the same token, Hellman avoids all the cliches of the genre -- close-ups of the slasher's eyes, looming low-angle shots -- which would have transformed Ricky into a creature of another species: more or less than human, or both at once, but in any case, absolutely distinct from the other characters in the film. Instead, Ricky has the right to be framed like the other characters, or even to appear with them in the same frame. Monstrous as he is, he is simply another character, caught up in the same suspenseful situation they are -- except that he's the one with the knife. This distance, with its corollary of freedom, is the position Hellman has always accorded to the spectator of his films; by according it to him<i> in extremis</i> in a genre built on the most primitive forms of identification, he has made the first contemplative slasher film. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mF6r8E3hbZOrZEZYSstCXuKpkUyKzHq-hxuUg5fUTpPbr_fTwjGkQpS7p6dCCq7N1TE5pYeySxm-EA6G1A-EoLvPrgBMiluWl6vhlpFmz69GHmT8cldLcx5D9rbzPTrSpZpR/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="522" data-original-width="694" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mF6r8E3hbZOrZEZYSstCXuKpkUyKzHq-hxuUg5fUTpPbr_fTwjGkQpS7p6dCCq7N1TE5pYeySxm-EA6G1A-EoLvPrgBMiluWl6vhlpFmz69GHmT8cldLcx5D9rbzPTrSpZpR/w554-h417/vlcsnap-2021-04-21-20h03m00s791.png" width="554" /></a></div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5nYjpYcCP70UDlYxEExepBKrRQ90A4awNB57nBddJgjJihy23knDo7Y6wnxjMFsaILqXSG2thhsqtqRXWCRievE43GmolCKWXCIL06Tcw6BCCUFMwCrtz-j877LqMUa7ZNS5w/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="522" data-original-width="694" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5nYjpYcCP70UDlYxEExepBKrRQ90A4awNB57nBddJgjJihy23knDo7Y6wnxjMFsaILqXSG2thhsqtqRXWCRievE43GmolCKWXCIL06Tcw6BCCUFMwCrtz-j877LqMUa7ZNS5w/w558-h420/vlcsnap-2021-04-21-20h03m15s636.png" width="558" /></a></div><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999; text-align: center;"><span style="font-size: large;"><b>Laura</b></span></div><div style="color: #999999; text-align: center;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">The real hero of <i>SNDN3:BWO!</i> is Laura, the blind psychic who enters into telepathic contact with the still-comatose Ricky in the opening scenes of the film and is pursued by him until she dispatches him in a darkened cellar at the end, and as in <i>Iguana</i>, which tells the story of a sadomasochistic love affair between a woman and a monster, this female character represents the audience. When we first see her, she is being subjected to the manipulations of the inquiring scientist, who forces her to identify alternately with the victim (the dream that begins the film, in which Laura is menaced by a killer Santa, then by Ricky) and with the slasher (the flashbacks to <i>SNDN1</i>, from the point of view of Ricky as a child). This opening is like a miniature version of a slasher film, from which Laura flees, provoking Beymer to observe that she is rejecting her own psychic powers -- an idea that is later taken up by the ghost of Laura's murdered grandmother, who tells her to use her powers to save herself. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">But this hackneyed idea, which was the basis of the script that Hellman was given and completely rewrote, is discarded in the film's closing scenes: Trapped in the darkened cellar with Ricky, Laura does not use her psychic powers; instead she calls seductively for him to come and take her, and when he falls on her and embraces her, she thrusts a sharpened stick through his heart. For the other archetype Hellman had in mind in making this film was the same one which underlies <i>Iguana</i>: In an interview with Diane Sherry in the current issue of<i> Modern Times</i>, he half-jokingly describes <i>SNDN3:BWO!</i> as "the second film in my 'Beauty and the Beast' trilogy" -- referring not to Cocteau's film, but to the fairy-tale, which he interprets as the myth of any person's first encounter with and eventual acceptance of sexuality. ("I think all these horror films," he told me in a phone conversation, "are about sex.") If Laura rejects the pseudo-power promised to the spectator of a slasher film -- the power to identify in hypnotic alternation with the slasher and his victim -- she does so because, like Carmen in<i> Iguana</i>, she will ultimately claim her real power by the simple expedient of accepting her desire, with the result that, in the brief shot where she embraces Ricky, the dichotomy which founds the genre is broken down in a promiscuous mingling of bodies, indistinguishable in the darkness. And if the stake through the heart seems to work now, where just a minute before a blast from a double-barreled shotgun wielded by Laura's unfortunate brother failed, it's because Ricky is also a descendant of Dracula, feeding on the unacknowledged desire of the woman who brought him to life. Once that desire has been reclaimed, he can finally die. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAB8f9Us_9i7MsYTOvjWrbfwc_YOYGGaMlX9dVgWzTGSiB0_fBIifbSXekCQbLwrHIaBcQknFBgDaS_ltI7AoUBId7uhjEWeLkhOkmFDTet_gBA_q8zbOAQncaSYSz8EVKKZK9/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="522" data-original-width="694" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAB8f9Us_9i7MsYTOvjWrbfwc_YOYGGaMlX9dVgWzTGSiB0_fBIifbSXekCQbLwrHIaBcQknFBgDaS_ltI7AoUBId7uhjEWeLkhOkmFDTet_gBA_q8zbOAQncaSYSz8EVKKZK9/w554-h416/vlcsnap-2021-04-21-20h05m14s880.png" width="554" /></a></div><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><span>Or so it seems. <i>SNDN3:BWO!</i> begins with a shot of Laura reclining on a hospital bed; hearing Ricky's voice calling her name, she turns and looks at the camera. This shot has no reverse shot, because Laura is blind. But at the end, as Culp is driving her away from the scene of the carnage in a state of shock, she looks off-screen with the same blind stare and says, as if to no one: "Merry Christmas," summoning up Ricky in reverse shot: Wearing a tux and holding up a glass of champagne, he replies "...and a Happy New Year!" One year ends, another begins: The promise of a sequel. But also of a new beginning: Until now, Ricky's vocabulary has been limited to Laura's name, but with this first exchange of words, we have left the realm of the Imaginary -- with its hall of mirrors where <i>le Même and l'Autre</i>, the<i> </i></span><span>Same and the Other, </span><span>can only repeat themselves to infinity -- and entered the realm of the Symbolic. </span></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999; text-align: center;"><span style="font-size: large;"><b><span style="text-align: left;"><span>Ça</span></span><span> </span><span>continue...</span></b></span></div><div style="color: #999999; text-align: center;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><span>More banally, it looks as if Monte Hellman, by taking it seriously, has signed the death warrant of this particular genre: Already, according to a story in today's <i>Hollywood Reporter</i>, the latest sequels to<i> Friday the 13th</i> and <i>Nightmare on Elm Street </i>are performing so miserably that the death knell for the slasher film may have sounded, and with it the whole cinema of repetition that has set the tone for this depressing summer, which also saw <i>Karate Kid III</i> and <i>The Living Daylights</i> bite the dust, with cumulative grosses of $36 million and $40 million, respectively. Even the grosses of <i>Ghostbusters II </i>are viewed in some quarters as disappointing, relative to the expectations aroused by its predecessor's cumulative gross of $220 million. Of course, there will be certainly be a<i> Lethal Weapon III</i>, not to mention <i>Predator II</i>, <i>Die Hard II</i> and <i>Alien III.</i> Two sequels to <i>Back to the Future</i> are being shot back-to-back as I write -- one set in the future and the other in the Old West. Buoyed by the success of <i>Honey, I Shrunk the Kids</i>, the Disney Studios have reportedly registered the titles <i>Honey, I Made the Kids Invisible</i> and <i>Honey, I Sent the Kids to the Moon</i>, and the producers of <i>Batman</i> have announced plans for two sequels </span><span>with or without Tim Burton and Michael Keaton, who are getting set to start <i>Beetlejuice II</i>. </span></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;">But perhaps we will see more interesting results coming out of the next batch of sequels, modeled on Coppola's <i>Godfather </i>films rather than on <i>Jaws</i>, which Desmond Rochester describes in an article in the new <i>American Film</i>: sequels to some of the key films of the Seventies, made for the most part by participants who will be revisiting, with the wisdom of middle age, the triumphs of their youth. The most promising of these projects are Francis Coppola's <i>Godfather III</i>, to be filmed in Rome with most of the original cast, and Peter Bogdanovich's <i>Texasville</i>, the sequel to<i> The Last Picture Show </i>which started filming yesterday in Archer City, Texas, with Cybill Shepherd, Timothy Bottoms and Jeff Bridges; but it will also be good to see <i>Two Jakes</i>, Robert Towne's sequel to <i>Chinatown</i>, finally up on the screen, with Jack Nicholson directing. Even <i>The Exorcist: 1990</i>, with William Peter Blatty directing from his own script, sounds like an attempt on the part of the man who wrote the first blockbuster of the Seventies to revisit with conscious purpose a milestone on the path that has brought us to our present impasse. And for those of us who know the importance of the theme of replication to the director of<i> Piranha</i> and <i>Hollywood Boulevard </i>(which also, if memory serves, used footage from <i>The Terror</i>), the news that Joe Dante is filming <i>Gremlins II</i> is reason for guarded optimism. </span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999;"><span style="font-size: large;"><br /></span></div><div style="color: #999999; text-align: right;"><span style="font-size: large;">Bill Krohn </span></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div style="color: #999999;"><br /></div><div><span style="font-size: large;"><span style="color: #eeeeee;">* </span><span style="color: #666666; font-family: Times;"><span style="font-family: times;">The "Ye Olde Natural Lighting" versus "constructed, lit sets" line in Bill's email refers to a dialectic of light and design in Hellman's films, as he worked with Catalan cinematographer Josep M. Civet, from <i>Iguana </i>to <i>Road to Nowhere</i> that became an entire essay, </span></span><span style="color: #666666;">"Monte Hellman Today", included in Bill's recent book <a href="https://www.sunypress.edu/p-6843-letters-from-hollywood.aspx" target="_blank">Letters from Hollywood</a>.</span></span></div><div><span style="font-size: large;"><span style="color: #666666;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: #666666;"><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR5OAA4unoJ1eSLZulRHxEjc1D3wzGuXZeVGFH906SDkUcEVob2amVSa4CV12ZmDejuIp4-m69tNARJ6NspNMOIRorjHHWXm42Hn_l2xSgFbu6VaHVlGTXZmhyphenhyphenh7pDWhfZFg2t/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="600" data-original-width="750" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR5OAA4unoJ1eSLZulRHxEjc1D3wzGuXZeVGFH906SDkUcEVob2amVSa4CV12ZmDejuIp4-m69tNARJ6NspNMOIRorjHHWXm42Hn_l2xSgFbu6VaHVlGTXZmhyphenhyphenh7pDWhfZFg2t/" width="300" /></a></div><br /><br /></span></span></div><div style="color: #999999; font-size: x-large; text-align: right;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEganNiezC0AWWCdIBOAautVnGH_7h8OZPX4pkuBHq1xw659djRJpL5NC_IHQLsotPDthfOLr8MVXthSp7yLY1YgozQj6NHEYWxVuKm0-FcnbFDhVrZ1I_1l8Vz5LVVCdWyz_Tl2/" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="480" data-original-width="640" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEganNiezC0AWWCdIBOAautVnGH_7h8OZPX4pkuBHq1xw659djRJpL5NC_IHQLsotPDthfOLr8MVXthSp7yLY1YgozQj6NHEYWxVuKm0-FcnbFDhVrZ1I_1l8Vz5LVVCdWyz_Tl2/" width="320" /></a></div><div style="color: #999999;"><br /></div><div style="color: #999999; font-size: x-large;"><br /></div><br /></span></span><p></p><div class="page" title="Page 1">
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</div></bill_krohn></div>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-81348712977095398542021-03-07T15:35:00.000-08:002021-03-07T15:35:53.059-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvjMBbbq59HdyCR1k_ZrpsFZqmFjbNeXFC-q04Dn2fCGYfsBr2VgAQcgulTEHhkT5CLhKO8xDADvbZWLPaMUEkmNFNveRclglhyvh3QGX31izVaJg9F6ZQc1RI4S_9NDTKGTf/" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="540" data-original-width="720" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvjMBbbq59HdyCR1k_ZrpsFZqmFjbNeXFC-q04Dn2fCGYfsBr2VgAQcgulTEHhkT5CLhKO8xDADvbZWLPaMUEkmNFNveRclglhyvh3QGX31izVaJg9F6ZQc1RI4S_9NDTKGTf/w507-h380/vlcsnap-2020-03-08-05h58m26s120.png" width="507" /></a><span style="margin-left: 1em; 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text-align: center;"><br /></div><br /><br /> <p></p>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-65696671911770162782020-12-21T01:47:00.003-08:002021-01-17T23:53:34.736-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw0VlVpFNGtAXJvChZkdjLLhA_qza4N175eCnnlPam6xQXkuxE9ipHkZvjLPuhTvzAlYCn-aNEYqEHyMb-KT710j97cQ4oZS27U-eOSVLmofGXqclTeUW3qmuZ7nCPZVxKVl2b/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="800" data-original-width="1068" height="401" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw0VlVpFNGtAXJvChZkdjLLhA_qza4N175eCnnlPam6xQXkuxE9ipHkZvjLPuhTvzAlYCn-aNEYqEHyMb-KT710j97cQ4oZS27U-eOSVLmofGXqclTeUW3qmuZ7nCPZVxKVl2b/w534-h401/Screen+Shot+2020-12-20+at+8.27.30+PM.png" width="534" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSJwzMvbwzHAdZXkA8mEVvMN3dAAMdKuNGhtt8daSVxrNfDmGi19mkvXF90chNf_6pdX8wuEEp3lxFOX8_ORwu44s0bN53qtx39pSHZKg7ZZR_M0Y1OEhGLypaOqmCsYhrpH1L/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1014" data-original-width="1117" height="491" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSJwzMvbwzHAdZXkA8mEVvMN3dAAMdKuNGhtt8daSVxrNfDmGi19mkvXF90chNf_6pdX8wuEEp3lxFOX8_ORwu44s0bN53qtx39pSHZKg7ZZR_M0Y1OEhGLypaOqmCsYhrpH1L/w540-h491/petit+soldat.png" width="540" /></a></div><br /> <p></p>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com1tag:blogger.com,1999:blog-18252740.post-9086282178676051362020-10-05T00:30:00.015-07:002020-12-21T01:49:47.250-08:00<span style="font-family: times;"><span style="font-size: x-large;">A TRIBUTE TO BORIS BARNET<br />
by YELENA KUZMINA</span><br />
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</span><span style="font-family: times;"><span style="font-size: large;">The first thing that struck me about Barnet was his way of working on a script. He had to re-do every script completely. If the script was good, even if he liked it, Barnet felt somehow uncomfortable and awkward. So that the script would be his own, it was necessary to rewrite it. From cover to cover. And Barnet did rewrite them.<br /> <br /> For that matter, no he didn't rewrite them. That was a completely different work. With huge scissors he cut and clipped the script, tearing it apart into individual pieces, sequences and shots. These pieces he rearranged, reinserted, wrote something in, threw something out, and finally glued them together in a an infinitely long scroll. If he had to find a certain place, he would spread the scroll out on the floor and crawl along it on all fours.<br /> <br /> I laughed out loud when I first saw Barnet doing that. At first he didn't think it funny and got mad. Then he told me, kindheartedly and with humor: "Every man should make at least one discovery. Well, this is my discovery. A script must be spliced into one roll, like a film. Then I can see what comes after what."<br /><br /> For that matter, when shooting started the scroll was calmly left at home. Something completely different was shot.<br /> <br /> <a href="https://www.blogger.com/#"><img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRxP966ZtZ9BM-s7My95INLE-2_OqJ3mBxcj8Lnh-bYYyjZAzK8DJQc2gR1dah9K1tzRP6x3X31tkdPgq-mt9t0epnlIEY3_GP_4C6AXskPmzb7yEy0_yTB88HOXPgXjp50VT8/w590-h476/barnet+directs+wrestler+clown.png" width="590" /></a><br /> <br /> A man of tremendous imagination, Boris was all the time dreaming up something new. What had been written yesterday seemed uninteresting to him today. Sometimes his touches were really brilliant. But it often happened that sequences didn't hang together and the improvisation ruined the basic plot.<br /> <br /> I met Barnet when he was getting ready to shoot OUTSKIRTS. He immediately offered me the only female role, Maria. I read the script and was very amused. I was 21, but Maria in the script was a long-faded old maid.<br /> <br /> "You must be joking?"' I said to Barnet.<br /> "Not at all."<br /> "But she's really an old maid!"<br /> "Well, somehow..."<br /> "I can play her, only just the opposite."<br /> "What do you mean, 'just the opposite'?"<br /> ''Well, everything written about Maria in the script—just the opposite of that. Not old, and not a maid, but a funny small-town girl, pigeon-toed, a know-it-all, a "Manka" rather than a 'Maria.' And I'll think up her dress myself."<br /> <br /> Barnet's ability to work was unbelievable. He could shoot and edit for days without coming out of the studio. After several such days and nights he could go straight from the set to some social gathering, drink, tell jokes, be the life of the party, and after the party dunk his head in cold water and return to the studio as if nothing had happened, going on editing or shooting all night.<br /> <br /> <a href="https://www.blogger.com/#"><img border="0" height="544" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg96BYejCpeCS5ueHC2LewFUY63uRhsVnuNkcH8lt_INjxGHFsTpG8KOJSx6CAglZNM6ygJ2KFO9sLnqCi60Gs3dywzg5_p0H42SlDZHBsi9S9l1MkxaTPtqiXPOeqnNiz69_Mc/w757-h544/barnet+hatbox+shoot.png" width="757" /></a><br /> <br /> He was a strange, surprising man. Infinitely kind and cordial with everyone who came into any contact with him. In extremely freezing weather he could rip off his he scarf and gloves to wrap up some child who happened along the way. He could turn his pockets inside out and give away everything, right down to his last coin, to the first person who came along, if the latter complained about having a hard time. But with his friends . . . with his friends he was completely different. His life was filled with an endless stream of people gliding by. People were drawn to him, his charm warmed them. But they didn't become close friends. Perhaps he was protecting himself, keeping a distance. Perhaps he valued solitude. He had a multitude of acquaintances and was equally cordial, nice and interesting with all of them—a wonderful talker, a wonderful drinking companion . . . but he had no true friends.<br /> <br /> And probably he needed them, He needed the shoulder of a comrade to lean on. He accomplished very much. He could have accomplished much more, with his strength and talent.<br /><br /> <br /><div style="text-align: right;">Sputnik Kinofestivalia (Moscow), No. 4 </div><div style="text-align: right;">July 8, 1967 </div></span><div style="text-align: right;"><br /></div> <br /><a href="https://www.blogger.com/#" style="font-size: large;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3tIe4gKf84xza9rrUL64fB7SB-eNlOrc18xUc_aYQDP4yijAB4Gku45GMxl1zGAtQXvSDuVnUNCIASA1AVz76fM-MhyphenhyphenvYhcbBdEanxn5NvK8NCm4QU-CGcNy3nrnmfwWy3dVx/s16000/Screen+Shot+2020-10-05+at+12.41.33+AM.png" /></a><br /><br /> <br /> <br /></span> <br />Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-91841798917504728592020-05-01T18:57:00.001-07:002020-05-01T19:15:20.635-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6oUmCc0Vgg6a5EN30x1Ky96PvmQ38usathRdnCbkK_nSuzJrOCnfODUBFeE9ghugXZEAQJ0mgUsJUMAoc9VSQLSlH9L6TwzlY4EkgwixIbxA17HonZAuQPM3KWKMT_78al3U/s1600/95263102_632965747293731_5567105049655508992_n.jpg" imageanchor="1"><img border="0" height="479" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6oUmCc0Vgg6a5EN30x1Ky96PvmQ38usathRdnCbkK_nSuzJrOCnfODUBFeE9ghugXZEAQJ0mgUsJUMAoc9VSQLSlH9L6TwzlY4EkgwixIbxA17HonZAuQPM3KWKMT_78al3U/s640/95263102_632965747293731_5567105049655508992_n.jpg" width="640" /></a><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">"This is what I meant yesterday when I said: we caught a political conscience like one catches the chickenpox. I should have answered that it was not through Karl Marx that we discovered the class struggle, but through the obstacles that we experienced when attempting to make a precise film, which was THE CHRONICLE OF ANNA MAGDALENA BACH. This lasted from 1958 to 1967, so ten years. This is where we realized what social violence is, the class struggle, etc. Reading Marx after that, we said to ourselves: 'Now here's a perfectly clear, just, and realistic analysis of the state of things.'"</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">—Huillet.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Strasbourg, 1993.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">"We became acquainted at the Berlinale, shortly after that memorable July 4, 1965, premiere (of <i>Nicht versöhnt oder es hilft nur Gewalt wo Gewalt herrscht</i>). Today, we're close friends. I know no one else in the whole field as passionately, tenaciously, and conscientiously devoted to making movies as the two of them are. They are among the few people in this business who really work (instead of fooling around). They direct political movies (not movies about politics). Let me repeat it for those who don't know it yet: their films are the most exciting, progressive films in cinema today.</span> </blockquote>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">"I suspect I feel so close to the two of them because I believe myself to be caught in a similar quandary: the need to recognize that one must, by means of a false line of conduct, come closer to one's goals with integrity and dogged personalized effort, and at the price of material hardship, rather than becoming a quasi victim, in a small political faction, of imponderables that leave no room at all for various forms of work. S.-H. represent a scarcely imaginable intensification of individual effort, of what one (or two) people can accomplish in a business dominated by 'pimps and whores.' It is a struggle, naturally, and a struggle that betrays traces of asceticism as well as transfigured anarchism and moralism; immense nervous strain matched by great powers of endurance; and a masochism that is tapped as a source of new achievement—amid the most severe material hardship. (I would never be capable of that, but, then again, I don't have a Danièle H.)"</span></blockquote>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">—Günter Peter Straschek.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>Filmkritik</i>, Aug. 1974.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Excerpted from the book </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>Emigration - Film - Politik</i></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>Here and Now. </i>2018. Museum Ludwig</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Past May Day Dedications to </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="text-align: left;">Danièle Huillet </span>on <i>Kino Slang</i></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2007/05/hand-of-julius-caesar-fancy-would-paint.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2007</span></a> - Examine Caesars </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2008/05/song-of-two-humans-but.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2008</span></a> - Song of Two Humans, But...!</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2009/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2009</span></a> - This Land is Mine</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2010/05/also-commemorating-birthday-of-daniele.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2010</span></a> - Men Without Women</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2011/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2011</span></a> - Freedom</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2012/05/happy-may-day-with-water-for-small.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2012</span></a> - Small Grasses</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2013/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2013</span></a> - That's Just What We Intend</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://kinoslang.blogspot.com/2014/05/blog-post.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2014</span></a> - The Lizards</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">2015 - (no post - misery)</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="color: orange;"><a href="http://kinoslang.blogspot.com/2016/05/may-day.html" style="color: white; text-decoration-line: none;" target="_blank"><span style="color: orange;">2016</span></a> </span>- Complete Animals</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="https://kinoslang.blogspot.com/2017/05/daniele-huillet-at-work.html" target="_blank">2017</a> - Huillet at Work (interview)</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="https://kinoslang.blogspot.com/2018/05/straub-huillet-talking-jms-jean-marie.html" target="_blank">2018</a> - Straub/Huillet/Talking (interview)</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="https://kinoslang.blogspot.com/2019/05/daniele-huillet-born-may-1st.html" target="_blank">2019</a> - Born May 1st. . .</span></div>
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Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-61468705023572287972020-04-16T04:11:00.004-07:002022-03-16T15:47:45.675-07:00<iframe allow="autoplay; fullscreen" allowfullscreen= allow=autoplay"" frameborder="0" height="394" src="https://player.vimeo.com/video/407486854?autoplay=1&title=0&byline=0&portrait=0" width="700"></iframe><br />
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<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="581" src="https://player.vimeo.com/video/407818106?title=0&byline=0&portrait=0" width="800"></iframe>Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-68524303495125120492020-04-16T04:10:00.000-07:002020-05-23T01:15:16.053-07:00<div style="text-align: center;">
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<span style="color: #cccccc;"><span style="font-family: "arial narrow"; font-size: x-large;">KINO SLANG </span></span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i>QUARANTINE </i></span><br />
<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">PRESENTS</span><br />
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<b style="color: #cccccc; font-family: "arial narrow", sans-serif; font-size: 30pt; white-space: pre-wrap;">CELA </b><b style="color: #cccccc; font-family: "arial narrow", sans-serif; font-size: 30pt; white-space: pre-wrap;">S'APPELLE </b><b style="color: #cccccc; font-family: "arial narrow", sans-serif; font-size: 30pt; white-space: pre-wrap;">L'AURORE</b></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">IT'S </span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">CALLED </span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">THE DAWN</span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">(Luis Buñuel, 1955)</span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif;"><span style="font-size: x-large;"><span style="color: #cccccc; font-family: "arial narrow"; text-align: center;">preceded by</span></span></span></div>
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<b style="color: #cccccc; font-family: "arial narrow", sans-serif; font-size: 30pt; white-space: pre-wrap;">LE MONDE COMME IL NE VA PAS</b></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large; text-align: center;">WHAT'S WRONG WITH THE WORLD</span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif;"><span style="font-size: x-large;"><span style="color: #cccccc; font-family: "arial narrow"; text-align: center;">Jean-Luc Godard, 1996</span></span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">NARSÈS</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">: What is it called when the sun rises, like today, and everything has been ransacked, everything is devastated, but you can still breathe the air, and everything is lost, the city is burning, and innocent people are killing each other, but the guilty are in their death throes in some corner of the daybreak?</span> </blockquote>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">ELECTRE: Ask the beggar, he knows.</span> </blockquote>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BEGGAR: It has a very beautiful name, </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Nars</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">ès. <i>Cela s'appelle l'aurore. </i>It's called the dawn.</span></blockquote>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: x-large;"><span style="text-align: left;">SEE THE FILMS <a href="https://kinoslang.blogspot.com/2020/04/blog-post_16.html"><b>HERE</b></a></span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">1996. Jean-Luc Godard - <i>Le Cercle de Minuit</i>. 1 minute.</span><br />
<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Broadcast on Antenne 2, November 26, 1996.</span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Not a exactly a short film but certainly a work, this one-minute video was one of four cinema <i>gammes</i>—"scales" in the musical sense (Do, Re, Mi, Fa, Sol, La, Si)—presented on live television by Jean-Luc Godard in 1996. </span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">On the occasion of the release of his war film <i>For Ever Mozart </i>(1996) Godard was invited by Laure Adler, host of <i>Le Cercle de Minuit</i>, to take part in a roundtable with writer Philippe Sollers, the two philosophers Jean-François Lyotard and Alain Finkielkraut, and film critic and filmmaker Jean-Claude Biette. </span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Godard chose to present his colleagues with these sequences, asking why we typically don't "do our scales" in cinema, like pianists, dancers, singers, or as athletes, for practice and for pleasure, every morning? "Here's an example of a cinema scale... It's f</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">rom a photo that I saw in a Swiss-Romande daily newspaper, a photo that</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"> made me think... and there it is, my scales for the day, my day's work... "</span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">I only came to know of the existence of <i>Le Monde comme il ne va pas</i> (<i>What's Wrong with the World</i>)</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">—</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">which is verbally presented by Adler on the show as "Photo / petite fille / Algérie / muet" (Photo / little girl / Algeria / silent)</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">—</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">through a short text about it on the <a href="http://shangols.canalblog.com/archives/2011/03/11/20603821.html?fbclid=IwAR3a6N1E4lV6GcizOHT8b1td2LeXX1l7GiqY5ntOQcrnoC0T9I-MTjxYeaY">Shangols</a> </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">blog, who writes that Godard "utilizes the last tools of the cinema as if they were found existing in the Bronze Age: a simple zoom, a clear-cut look at an image, a text, enough to express both the infancy of cinema and a tainted childhood in a country at war."</span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">As this montage was executed on live television, it's excluded from most Godard filmographies, though I've subsequently found it in the more detailed and reliable of them, for instance in Michael Witt's <i>Jean-Luc Godard, Cinema Historian </i>(2013)<i>.</i> </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">The words that we hear in the montage were written by G.K. Chesterton, whose original 1910 text can be found </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><a href="https://chesterton.wordpress.com/2011/05/25/a-little-girls-hair/">here</a>. Lengthy excerpts of the <i>Cercle de Minuit </i>program, including further <i>gammes</i> and discussion in French,<i> </i>are introduced and preserved <a href="http://www.pileface.com/sollers/spip.php?article1130&fbclid=IwAR2PFfCf0khwl89Y3mCkNFkYBgcbnc6d58R5_x3BiZTXlbU0bONevhn-mM4#section3">here</a>, thanks to the efforts of Albert Gauvin (grâce à Dmitry Golotyuk).</span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">France-Italy. 1955. 98 minutes. </span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"> Director: Luis Buñuel. Screenplay: Luis Buñuel, Jean Ferry. </span><br />
<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"> Based on the novel <i>Cela s'appelle l'aurore</i> by Emmanuel Roblès.</span><br />
<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Cinematography: Robert Lefebvre. Editor: Marguerite Renoir, Luis Buñuel.
Music: Joseph Kosma. Sound: Antoine Petitjean. Art Direction: Max Douy.
Assistants: Marcel Camus, Jacques Deray. Prod. Manager: Claude Jaeger. </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">With: Georges Marchal (Dr. Valerio), Lucia Bosè (Clara), Gianni Esposito (Sandro), Julien Bertheau (Police Commissioner Fasaro), Nelly Borgeaud (Angela), Jean-Jacques Delbo (Gorzone), Robert Levfort (Pietro), Brigitte Elloy (Magda), Henri Nassiet (Angela's father), Gaston Modot (peasant Giuseppe), Simone Paris (Madame Gorzone), Pascale Mazotti (Azzopardi), Marcel Peres.</span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Doctor Valerio works for an industrial concern on a Mediterranean island and devotes himself to helping the workers and poor farmers. Valerio's wife, Angela, suffers from nerves and boredom. While in a tenement to treat a child who has been molested, Valerio meets Clara, they fall in love and begin an affair. Valerio's worker friend Sandro takes revenge on his heartless boss, Gorzone, who is responsible for Sandro's wife's death during their eviction. Valerio hides Sandro from the police at his home at the very moment that his father-in-law arrives to offer him lucrative work in Nice. The doctor must take sides.</span></span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="font-size: x-large;"><span style="font-size: large;">"The film is a remarkable adaptation by </span></span></span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Buñuel</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"> </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">of a fine novel by Emmauel </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Roblès, who took the title from the last line of Jean Giraudoux's play <i>Electre</i>:</span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">NARSÈS</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">: What is it called when the sun rises, like today, and everything has been ransacked, everything is devastated, but you can still breathe the air, and everything is lost, the city is burning, and innocent people are killing each other, but the guilty are in their death throes in some corner of the daybreak?</span> </span> </blockquote>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BEGGAR: It has a very beautiful name, </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Nars</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">ès. It's called the dawn.</span></span> </blockquote>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-weight: 400;"><span style="font-size: x-large;"><span style="font-size: large;"><br /></span></span></span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400;">"Through the mouthpiece of Doctor Valerio and this film, </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400; text-align: left;">Buñuel once again advocates subversion and makes statements that are very rarely to be heard in the cinema, and almost never in the French cinema. He says that in Western contemporary society the honor of the individual no longer coincides with the duties of the citizen, that the moral system is just as cankered as the social system, that the police are the concrete manifestation of this whole system, and that under no circumstances should one come to terms with the institutions that control this society from top to bottom. In other words, one should totally reject all taboos and all laws, and feel at all times and in all circumstance in a state of insurrection. One's self-respect, therefore, requires one to give refuge in one's home to the worker who has just murdered his boss, and never to shake hands with a policeman."</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><i>"I will let Friedrich Engels speak for me. He defines the function of the novelist (and here read filmmaker) thus: 'The novelist will have acquitted himself honorably of his task when, by means of an accurate portrait of authentic social relations, he will have destroyed the conventional view of the nature of those relations, shattered the optimism of the bourgeois world, and forced the reader to question the permanency of the prevailing order, and this even if the author does not offer us any solutions, even if he does not clearly take sides.'"</i></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjkm0fMKmqDtSBoh9wyDILv4tfpy1emF2yvTB8z4V66cjdS4y6Lfi-5b2kREjaS5k4MRSjRMWfgbFSKLBVZ9p2sb8FLrpQ0esz1fIM-XcVhr9ss6gux9bmYcJWfqVuuAPlJMr/s1600/+cela+sappelle+laurore_12_thumb%255B4%255D+copy.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="463" data-original-width="639" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjkm0fMKmqDtSBoh9wyDILv4tfpy1emF2yvTB8z4V66cjdS4y6Lfi-5b2kREjaS5k4MRSjRMWfgbFSKLBVZ9p2sb8FLrpQ0esz1fIM-XcVhr9ss6gux9bmYcJWfqVuuAPlJMr/s1600/+cela+sappelle+laurore_12_thumb%255B4%255D+copy.png" /></a></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="font-size: x-large;">by </span></span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: x-large;">André Bazin</span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400;">Luis Buñuel's reputation comes from the time when his films served as a banner for cinematic surrealism. There is scarcely a trace of this in<i> Cela s'appelle l'aurore </i>(<i>It's Called the Dawn</i>, 1955)<i>. </i></span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400;">Buñuel's work and inspiration are partly misunderstood. Films like <i>L'Age d'or</i> and <i>Un Chien andalou</i> are indeed provocative, epic, and violent. They denounce social and moral lies, and are at times intolerably cruel. But it would be wrong to deduce from this that Buñuel seeks out scandal and violence for their own sake. The cruelty in <i>Los Olvidados</i> is merely the necessary counter-balance of an overwhelming tenderness, an unsatisfied yearning for kindness, justice, and purity in this world. For Buñuel, the dream and everything it reveals about inner reality is a pathway to the truth. To the casual viewer, some of Buñuel's work might seem filled with a gratuitous strangeness and bizarre incongruities. </span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400;">But just as his "cruelty" is the projected shadow of his tenderness, Buñuel's oddities, if I may say so, are simply the manifestation of his simplicty. The universe of which he dreams is one of social justice, kindness, and true love -- an almost naive universe of moral simplicity. Naive yet dizzying!</span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400;">This is why <i>Cela s'appelle l'aurore</i> is truly a Buñuelian film, even though such a melodramatic story, with its strongly sympathetic or antipathetic characters might seem to be naively paradoxical. A closer look shows us otherwise. This transparency is as sharp as crystal, and one of its shards might slit your wrists. </span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400;">A young doctor, living on a desolate island in the Mediterranean, earns very little from his work yet remains to help those around him. His wife, slightly ill but mainly bored by her mediocre existence, goes to Nice to recuperate. Her parents would like to see their son-in-law set up practice on the Continent. While attending to a young girl who has been raped, the doctor meets a young Italian widow and violent passion soon envelops them. </span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400;">Later, at great personal risk, the doctor is called upon to harbor a young man who as killed the reigning industrial boss of the town. The greediness and lack of compassion of the latter have led to the death of the young man's ailing wife. Wishing to spare the doctor an accusation of complicity, the unfortunate boy leaves his refuge and is killed. </span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400;">In the end, the doctor divorces his wife, thereby renoucing the advantages of a career in the city and choosing truth, love, and the friendship of those who need him. <i>Cela s'appelle l'aurore</i> is, as I said, a strange film because of its simplicity, dazzling because of its clarity and a film which cleanses the soul and heart. It is admirably interpreted by Lucia Bosè, Georges Marchal, and in particular Julien Bertheau and Esposito.</span> <span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; font-weight: 400;"><br /></span></span></div>
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<i style="color: #999999; font-family: "arial narrow", sans-serif;"><span style="font-size: large;">Le parisien libéré 3631.</span></i><i style="color: #999999; font-family: "arial narrow", sans-serif; font-size: x-large;"> </i><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">May 14, 1956</span></span><br />
<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Translated by Sandrine D'Estr</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">é</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">e and Tiffany Fliss</span></div>
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<tr><td class="tr-caption" style="text-align: right;"><span style="color: #999999;"> L.B. shooting CELA S'APPELLE L'AURORE in Corsica, August 1955.</span></td></tr>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: x-large;"><b>INTERVIEW</b></span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TOMAS PEREZ TURRENT: You once mentioned that <i>Cela s'appelle l'aurore </i>is one of your favorite films.</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">LUIS BUÑUEL: It's a "love-yes-police-no" film and I have good memories of it. My agent in Paris had recommended Emmanuel Roblès' novel, and that year, 1954, I was on the jury at the Cannes Film Festival. I liked the book and began to work on the script with Jean Ferry, a Surrealist writer and author of a study of Raymond Roussel.</span><a href="https://en.wiktionary.org/wiki/%C3%91" ping="/url?sa=t&source=web&rct=j&url=https://en.wiktionary.org/wiki/%25C3%2591&ved=2ahUKEwjxyfuX-uHoAhXWvJ4KHc26D6AQFjAPegQIAxAB" style="background-color: white; color: #660099; cursor: pointer; font-family: Roboto, arial, sans-serif; font-size: small;"></a></span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: Ferry was also one of the founders of the College of Pataphysics. [<i>College de Pataphysique, founded in 1949 by a group of French writers to explore the new 'science' proposed in the writings of Alfred Jarry. As defined by Jarry: 'Pataphysics is the sciene of imaginary solutions'.</i>]</span></span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: Yes, he was a pataphysician. And a curious thing happened to me with him. He wrote a three-page love scene, with kisses and very lyrical phrases. I would have been embarrassed to film something like that. </span></span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Then it came to me to have the protagonist arrive at his lover's house, they speak tenderly, and, since he is tired, he takes off his shoes. While she serves him some soup, he says, "Look in my pocket. I brought you a present." She finds a live turtle in his pocket. Then the man and the woman kiss. And this way I avoided three pages of dialogue that might have been good on paper, but were impossible to film. Ferry wrote to the producer, demanding that his name be removed from the credits because I had converted a sublime scene into another one about shoes, soup, and trivialities. Poor Ferry, he has since died. He had talent, but on that occasion it failed him. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">JOSÉ DE LA COLINA: We know there was a problem related to Paul Claudel. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: A scene opens in the office of the police commissioner. On his desk you can see the complete works of Claudel with a portrait of him, and a pair of <i>menottes</i> (handcuffs) on top of them. Later, the commissioner takes his gloves from the chest over which hangs a print of Christ by Dalí. That is to say that </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Dalí and Claudel were poet and painter of the police, through both are excellent, of course.</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: But at the same time the commissioner was defined as a cultured man, sensitive...</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: He could be. Well, then Claudel's daughter wrote to me more or less in these words: "Monsieur, I have seen the ignoble film where you profane my father's memory. I can do nothing against you legally, but this letter serves to express my contempt." There was also a scene in the film where the police commissioner, while traveling in a car on the island's highway, refers to the landscape and recites some of Claudel's verses. Julien Bertheau, who played the role of the police commissioner, told me, "Bunuel, I prefer not to recite these lines. I acted in <i>L'Annonciation à Marie</i>, and am a friend of Claudel's daughter, and it seems to me you are ridiculing him." "But do you think this scene is going to be grotesque?" I asked him. "No. Recite the verses seriously, without ridicule; you are reciting a good poet."</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: The ridicule would be in the context. And most people know that Claudel was a <i>bête noir</i> of the Surrealists.</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: The Surrealist group attacked Claudel for his nationalism, his praise of the police and later of Franco. But I insist that for me he is a good poet...</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: And the Claudel-</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Dalí association?</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Dalí</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"> is also a nationalist and a Catholic, in his own way, and supportive of Fascist regimes. The police commissioner could have ideas similar to theirs and enjoy their works. Where is the ridicule in that? For example, as you know, I have a </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Dalí portrait here in the house, a portrait of me that he painted. Does this perhaps mean that I share </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Dalí's current ideas? On the other hand, the police commissioner has some good characteristics: he reprimands the policemen when they go too far in an act of repression. There is the scene where he crushes the hand of the old man because the old man has raped a young girl. You can understand this indignation, though, of course, the old man is defenseless.</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: There were many attacks on the film, particularly one by Eric Rohmer. [SEE BELOW - A.R.]</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: I called Rohmer a fascist, although not because of that. One day the editor of <i>Cahiers du cinéma </i>introduced me to him. I remembered that Kyrou and Prévert had called Rohmer a fascist and, as a joke, I said to him, "I have the honor of greeting a fascist." Immediately, I added, "Excuse me, I have been told that you are a fascist." He became red as a beet and I took my leave: "Well, then delighted to have met you."</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: I remember Rohmer's criticism. He said that you felt obliged to break down doors that had already been opened long before and that you had a <i>petite place </i>in the history of cinema as a collaborator with </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Dalí on <i>L'Age d'or</i>, and also as a representative of Mexican cinema. And he concluded: "Nothing much."</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: Well, it was amusing.</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: Some critics said that you had attained serenity in <i>Cela s'appelle l'aurore</i>. But the film stirred up violent reactions for being very clear in its position.</span></span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: I like the final scene when Marchal refuses to shake hands with the police commissioner and leaves with his lover and three worker friends, his arm over their shoulders., with an accordion heard in the background. That is the only music in the film. I acknowledge that the scene is a bit symbolic. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: Unlike your other characters, Marchal is a very definite character, very simple. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: But not at the beginning. At first, we see him working as a police doctor. His experiences while living on the island, seeing injustice close-up, make him change. When he hides the fugitive worker at the beginning, he does it only out of generosity and friendship, even against the wishes of his wife and father-in-law. Besides, he has already fallen in love with </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Bosè. But up to that point, he is only a man with good intentions, compassionate, in love. When they kill Gianni (Sandro), who became a killer out of desperation, a wider feeling of human solidarity begins to stir within the doctor. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: But isn't it possible that after this reaction the doctor could return to a solidarity with his own class?</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: Impossible. I believe a man who is capable of profound indignation at injustice can no longer accept it. For me, it is clear that, at Gianni's (Sandro's) death, Marchal (Valerio) has radically changed. At least he no longer works with the police. Nazar</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">ín and Viridiana also change their way of seeing and living in the world. They can no longer remain as they were before. I'm not a determinist; I mean that I don't believe anyone is morally determined forever because he was born in such-and-such a social class. Being born bourgeois doesn't condemn anyone to think or behave like a bourgeois for his entire life. Coexistence changes one's manner of being. Let's take an extreme case: a guard and a prisoner. It's very difficult for a guard to maintain an intransigent position toward his prisoner day after day. He has to be incredibly vile not to establish some type of human relationship with him. But...there are no rules, isn't that right? Forced coexistence can also degrade human relations. If you and I were forcibly locked up forever in a room together, we might be very wonderful people, trying to help each other, but we would almost certainly end up hating each other, losing our tempers over the slightest thing. To you, the way I scratch my ear would seem unbearable; to me, the way you comb your hair. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">COLINA: That is part of the theme of <i>The Exterminating Angel</i>.</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: Yes. But coexistence can have the opposite result: the sense of solidarity. The doctor in <i>Cela s'appelle l'aurore</i> </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">coexists emotionally, though not physically, with the poor people on the island; and furthermore, love makes him more generous. For that reason he breaks with convention: he leaves his wife, sick as she is, and he goes off with his lover. It would be unbearable for him to live any form of deceit.</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: So what interests you most about a character is his potential for change?</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: Of course. If not, what interest would a story have? A story has to do with seeing whether a character becomes better or worse, happy or miserable... Zachary Scott's character in <i>The Young One</i> changes for the better: he stops being a racist, he really falls in love with the girl, he's no longer a brutal rapist and selfish person. But on the other hand, Tristana becomes vindictive and tyrannical, she becomes hardened. Only in cheap novels are good characters always good and bad ones always bad. They don't learn anything, life doesn't change them. Look at an example of change in the character of Gianni Esposito: he is unhappy through most of the film, incapable of rebelling against the injustice that overwhelms him. He's like an automaton of misfortune, isn't he? Suddenly, he can no longer take it, he picks up a revolver, goes to find the boss, and shoots him in the belly. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">COLINA: The crime scene is splendid because it's like a moment in <i>L'Age d'or</i>, but stronger, because it is more justified. And you forget the kitten...</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: That's right, I forgot. What a memory you two have for details. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">COLINA: It's more than a detail, it has a beauty, mystery. Esposito arrives at the mansion where the party is taking place. A kitten follows him in the garden and Esposito picks it up, pets it, and carries it in his arms. He enters the drawing room and without throwing down the kitten, he takes out his revolver and shoots the boss. A brilliant poetic conjunction, great tenderness and at the same time a great and justified hate. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: They are gestures that I would make in a similar situation. And I am interested in a situation that allows two simultaneous contrary actions: to kiss and insult at the same time, to caress and kill at the same time, or the opposite. I'm not interested in characters without contradictions because we know everything about them from the first moment. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">COLINA: That is what happens to me with the character of Marchal, despite the fact that you say he is capable of change. This character doesn't surprise me, he seems too linear. I find the entire film like that, except for the crime scene in the drawing room, the "bit with the kitten." Understand, Don Luis, the film doesn't displease me in any ideological way, I simply find it predictable, flat.</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: I understand. It's not enough for me either that a film share my ideas in order for me to like it or for it to touch me. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">TURRENT: In addition to the scene with the handcuffs and Claudel's book, there is another, even stronger image in the film: a statue of Christ that is used as a telegraph pole. </span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">BUÑUEL: Many people have said, "A </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Buñuelian detail." Okay, but I'm sorry, sometimes reality inserts its own </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Buñuelian touches all by itself. When the Americans invaded Africa during the Second World War, they found a monument of Christ and used it to string needed telephone cables. And since the doctor had been in Africa, he has this photograph in his home: Jesus' face hung full of insulators and cables. This is not an invention of mine, nor was the shrine to the Virgin of Guadalupe at the Rastro slaughterhouse in <i>The Brute.</i></span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; text-align: left;">by Tomás Pérez Turrent and </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; text-align: left;">José de la Colina. 1986.</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">Translated by Paul Lenti in <i>Objects of Desire</i>. 1992.</span></span><br />
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">"All that remains of Breton's myth of <i>amour fou</i> is something which could be found in a women's magazine serial; the aggressivity of the Twenties has become the cockiness of boarding-school inmates out on a spree. It is enough to turn anyone into a religious bigot, a policeman and a Fascist before you could say Jack Robinson! The film is just one cliché after another, a huge ado about nothing. I hope that Buñuel has not said his last word. For the time being anyway, he only occupies a small niche in the history of cinema, as Dalí's collaborator on <i>Un chien Andalou</i> and <i>L'Age d'or</i> and as Mexico's virtually only director: all in all, a pretty small niche."</span></span></div>
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<span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;">This program is dedicated to </span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large; text-align: start;">Lucia Bosè</span><span style="color: #999999; font-family: "arial narrow" , sans-serif; font-size: large;"> who died of COVID-19</span></span></div>
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Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-57458087208994535722020-04-05T00:14:00.000-07:002020-04-30T16:10:09.311-07:00<br />
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><b><br class="Apple-interchange-newline" />LA FRANCE CONTRE LES ROBOTS</b></span></div>
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<span style="font-size: x-large;"><span style="color: #cccccc; font-family: "arial narrow";">FRANCE AGAINST ROBOTS</span></span></div>
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<span style="font-size: x-large;"><span style="color: #cccccc; font-family: "arial narrow";"> Switzerland. 2020</span><span style="color: #cccccc; font-family: "arial narrow";">. HD, 4/3. </span></span></div>
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<span style="font-size: x-large;"><span style="color: #cccccc; font-family: "arial narrow";">9 minutes, 53 seconds (versions 1 and 2). </span></span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">Film by Jean-Marie Straub. </span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"> </span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">Image: Renato Berta, Patrick Tresch. Grip: Blaise Bauquis. Sound: Dimitri Haulet, Renaud Musy. Assistants: Anca and Grigore Bof, Paola and Giorgio Passerone, Lucie Taffin. Editor: Christophe Clavert. Sound Mix: François Musy. Color: Rodney Musso, Jean-Baptiste Perrin. Postproduction: Olivier Boischot.</span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">Production: Barbara Ulrich - BELVA FILM.</span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"> Text: Excerpt from the first chapter of the book </span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i>La France contre les Robots </i>(1945) by </span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">Georges Bernanos</span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">. </span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">With: Christophe Clavert.</span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">"The word 'revolution' to us Frenchmen is not a vague term. We know that Revolution is a rupture, that Revolution is an Absolute. There is no such thing as a moderate revolution, there is no such thing as a planned revolution—as one speaks of a planned economy. The revolution we are announcing will overturn the entire existing order or it will not take place at all. If we believe that the present system is capable of being reformed, that it can, in itself, check the fatal course of its evolution towards Dictatorship</span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">—the dictatorship of money, of race, of class, of the Nation</span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">—we will certainly refuse to run the risk of an explosion capable of destroying precious things that can only be rebuilt with much time, perseverance, selflessness, and love. But the present system will not change the course of its evolution for the good reason that it is no longer evolving; it is merely reorganizing itself with the view of lasting a little longer, of surviving. Far from professing to resolve its own contradictions, which are, in any case, impossible to resolve, it seems more and more inclined to impose them by force through strict regulation of individual effort that grows more rigid and more particular every day, carried out in the name of a sort of State Socialism, which is the democratic form of Dictatorship. Every day, in fact, brings us another proof that the purely ideological era has long since passed, in New York as well as in Moscow and London. We can see the Imperial English Democracy, the Plutocratic American Democracy and the Marxist Empire of Soviet Dominions walking, if not hand in hand</span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">—far from it!</span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">—at least pursuing the same goal, that is to say maintaining at all costs and even while appearing to oppose it, the system in which they have acquired wealth and power. For, in the end, Russia has profited no less from the capitalist system than America and England; it has played the role of the Member of Parliament who makes a fortune in Opposition. In short: regimes formerly opposed in ideology are now directly united by Technology. A world dominated by Technology is lost for Liberty.</span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">"</span></div>
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<span style="font-size: x-large;"><span style="color: #cccccc; font-family: arial narrow;"><i>The one-week run (April 5 - 12) of LA FRANCE CONTRE LES ROBOTS has been extended indefinitely by popular demand!</i></span></span> </blockquote>
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<span style="font-size: x-large;"><span style="color: #cccccc; font-family: arial narrow;"><i>Meanwhile, the makers of the film, </i>BELVA FILM,<i> have made available <a href="https://www.youtube.com/watch?v=4eiEPBkjfO0&t=" target="_blank">Italian</a><span id="goog_2115411572"></span><a href="https://www.blogger.com/"></a><span id="goog_2115411573"></span>, <a href="https://www.youtube.com/watch?v=1AhyyOfbPvc" target="_blank">Spanish</a>, and <a href="https://youtu.be/3YkyLJ-QVxQ" target="_blank">German</a> subtitled versions as well as the original unsubtitled </i></span><i style="color: #cccccc; font-family: "arial narrow";"><a href="https://youtu.be/g2kbRJG-qvs" target="_blank">French</a> </i><span style="color: #cccccc; font-family: arial narrow;"><i>version.</i></span></span></blockquote>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: large;"><span style="font-size: large;"><span style="color: #cccccc; font-family: "arial narrow";">merci à Barbara et J.-M.</span><span style="color: #cccccc; font-family: "arial narrow";"> </span></span><a href="https://kinoslang.blogspot.com/2020/04/quarantine-during-worldwide-quarantine.html" imageanchor="1" style="font-size: xx-large;"><img border="0" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-HVIdemT_3UBBs7f5i7asnE7_tZz5gkITpkKKQltoz6S9ymUVOG6BWULsxoZlW0Aj_uAAXdEZapv4cJCiZ4SzY47UeIszyu79_BE9e5tMCeVH45cFaATrgeeDAf5EciF6v_rX/s200/kino+chicken.png" width="200" /></a></span></div>
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Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-7997945624731757912020-04-04T00:21:00.000-07:002020-04-30T15:43:56.684-07:00<div style="text-align: center;">
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<span style="font-family: "arial narrow"; font-size: medium;"><span style="color: #cccccc; font-size: x-large;">During the worldwide quarantine, </span></span></div>
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<span style="font-family: "arial narrow"; font-size: medium;"><span style="color: #cccccc; font-size: x-large;"><i>Kino Slang Presents </i></span></span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">will continue its programs, </span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">in molasses and chloroform, </span><span style="font-family: "arial narrow"; font-size: medium;"><span style="color: #cccccc; font-size: x-large;">here, online</span></span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">, </span></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">with films presented weekly. . .</span></div>
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<span style="color: #cccccc;"><span style="font-family: "arial narrow"; font-size: x-large;">Our inaugural program,</span></span><br />
<span style="color: #cccccc;"><span style="font-family: "arial narrow"; font-size: x-large;">with great thanks to the generosity of the filmmakers,</span></span><br />
<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">the world premiere of—</span></div>
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<b style="color: #cccccc; font-family: "arial narrow", sans-serif; font-size: 30pt; white-space: pre-wrap;">LA FRANCE CONTRE LES ROBOTS</b><br />
<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">FRANCE AGAINST ROBOTS</span><br />
<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;">(Jean-Marie Straub, 2020)</span><b style="color: #cccccc; font-family: "arial narrow", sans-serif; font-size: 30pt; white-space: pre-wrap;"> </b></div>
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX5a9Dt1flQgv5eISDYrmNDOQaS-lRmyde8ngBTAYLIlY9ZipOOuKrOhvtjN9o2DGV01E-8BmASFTlSP_yIMA0f5Xjl_KKDkIE3mXaUWT3ohyO4TKr43eiS-k_fWPtqw1Uzv3i/s840/vlcsnap-2020-04-03-15h20m28s695.png" style="text-align: start;" /></div>
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><strike> <i>WEEK LONG RUN</i></strike></span><br />
<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i><br /></i></span>
<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i><strike>APRIL 5 - 12</strike></i></span><br />
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<span style="color: #cccccc; font-family: arial narrow; font-size: x-large;"><i>RUN EXTENDED </i></span><br />
<span style="color: #cccccc; font-family: arial narrow; font-size: x-large;"><i>INDEFINITELY !</i></span><br />
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i>The film will be posted <a href="https://kinoslang.blogspot.com/2020/04/la-france-contre-les-robots-france.html"><b>here</b></a>, this Sunday! </i></span><br />
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9R81vpznjnkj0f75xbU2YE66U9PFd_iaNQKVUDhgl2SHcYnADjVJ-tTHQsF4TdX0PtlhAK6H2QtUpMyrvs2SOn2tYKxSyFErYcTlMIop8eBJwcCbCenLJS9dfX7TDLqD-_Aj9/s1600/IMG_9219.JPG" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9R81vpznjnkj0f75xbU2YE66U9PFd_iaNQKVUDhgl2SHcYnADjVJ-tTHQsF4TdX0PtlhAK6H2QtUpMyrvs2SOn2tYKxSyFErYcTlMIop8eBJwcCbCenLJS9dfX7TDLqD-_Aj9/s400/IMG_9219.JPG" width="287" /></a></i></span><br />
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i>Wer sich für uns entschieden hat, </i></span><br />
<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i>den beglückwünschen wir gleich hier!</i></span><br />
<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i><br /></i></span><span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i>If you decide on an engagement, </i></span><br />
<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><i>we congratulate you here and now! </i></span><br />
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<span style="color: #cccccc; font-family: "arial narrow"; font-size: x-large;"><span style="text-align: center;">Special Thanks to Barbara Ulrich, Jean-Marie Straub, Christophe Clavert, and Pedro Costa.</span></span><br />
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<span style="background-color: black; color: #cccccc; font-family: "arial narrow"; font-size: large; text-align: left;">*</span></div>
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<span style="background-color: black; color: #999999; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 13.2px; text-align: left;"></span><br />
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<span style="background-color: black; color: #999999; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 13.2px; text-align: left;"><span style="color: #cccccc; font-family: "arial narrow"; font-size: large;">“Kino Slang Presents” is a series of repertory and sometimes new cinema screenings programmed by Andy Rector. We project the silent alarms and naked dawns found only in the cinema. Past programs have included the films of Maurice Tourneur, Boris Barnet, Jerry Lewis, Alfred Hitchcock, Edgar G. Ulmer, Pedro Costa, Jacques Tourneur, Aleksandr Dovzhenko, Charlie Chaplin, Jean Renoir, Luis Buñuel, João César Monteiro, Peter Nestler, Esfir Shub, Carl Dreyer, and Yasujiro Ozu.</span></span></div>
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<br />Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0tag:blogger.com,1999:blog-18252740.post-3436425156676686272020-02-13T01:59:00.003-08:002022-01-14T12:55:52.339-08:00<div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<div style="text-align: center;"><span style="background-color: black; color: #cccccc; font-size: x-large;"><span style="font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div><div style="text-align: center;"><span style="background-color: black; color: #cccccc; font-size: x-large;"><span style="font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div><div style="text-align: center;">
<span style="background-color: black; color: #cccccc; font-size: x-large;"><span style="font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Expensive Cement:
<i>Vitalina Varela </i></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(Pedro Costa, 2019)</span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i><br /></i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i><br /></i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i><br /></i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>Ewigkeiten, über dich</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>hinweggestorben,</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>ein Brief berührt</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>verletzten Finger,</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>die erglänzende Stirn</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>und bettet sich in</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>Gerüche, Geräusche</i></span></span></div></div><div style="text-align: left;">
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>Eternities, died</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>over and above you,</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>a letter touches</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>wounded fingers,</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>the shining forehead</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>vaults hither</i></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><i>and beds itself in</i></span></span></div>
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<span style="background-color: black; color: #cccccc; font-size: large;"><i><span style="font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">odors, noises.</span><span style="font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></i></span></div>
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<span style="background-color: black; color: #cccccc;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-large;">M</span><span style="font-size: large;">any great houses have been built throughout the history of cinema. From Buster Keaton and Eddie Cline’s </span></span><span style="font-family: "times new roman"; font-size: large; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">One Week </span><span style="font-family: "times new roman"; font-size: large; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">to Jean Renoir’s </span><span style="font-family: "times new roman"; font-size: large; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Southerner</span><span style="font-family: "times new roman"; font-size: large; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">,</span><span style="font-family: "times new roman"; font-size: large; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: "times new roman"; font-size: large; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">the founding of an existence has always been closely connected to the construction of a house. Yet, most of those buildings and lives have sooner or later been destroyed. In the films of Pedro Costa, tragedy finds a home in houses that do not exist. Houses of lava in which no one can live, fading dreams of a shared life, memories of a love. These dramaturgical bricks build up a melodrama in his work. A house has to be built, it has to be filled with life, with passion and tenderness to be a home. The roofs will be improved, hallways will be cleaned and the most beautiful doors will be inserted. One brings the curtains of the ancestors, another lights the first candle of the evening, still another brings some photographs and music. They sit at a table and eat shoulder to shoulder. It smells of beans that taste like home. Traces in the plaster walls tell of work and dedication. Yet always, something breaks. We can hear disquiet in the woodwork, during a storm bricks tumble off the rooftop. The people leave the houses and forget their dreams. Instead they are housed in impersonal flats, cooped up in tiny beds, and hit their heads on low ceilings. In front of windows we see bars, there is an unbearable noise all through the night. Cement is expensive, so is color. Nobody helps. Caterpillars approach and destroy the foundations. They tear everything down until it is better to forget than remember the warmth of a pillow or a kiss in the house of fire. However, like in the Lumière Brothers’ film that showed how to reverse the demolition of a wall, we find in the films of Pedro Costa a persistent belief in the ability of cinema to rebuild those houses, to renovate them, to paint them in new colors. Every film of this director resembles an attempt to build a house. Sometimes it must be done in order to forget another house, sometimes in order to be able to breathe, to survive. A house is needed for people to be able to speak, to confess, to understand, to love and to learn. There is a door on those houses. It’s not open but it exists. Everything that happens behind those doors also happens without the cinema. It’s only that Costa shows the people he films and we the audience that those doors exist. Thus building a house becomes the making of a film and entering a house becomes its experience. It’s only when both come together that we can live in a house and watch the world through its windows.</span></span><br />
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqdlpcMF339a1cNABMlz_iq758DGWpra71BVPbUlaQ-617lCFCgZnr1ELt2L1pIPKcmek2ZRsqzv6QnTGJv-eBnolLmI3IZ5FQH-epnSIPSc8C0sV_Xal8iElXq9VsbEd9lZoN/s1600/vitalina+varela+post.jpeg" /></div>
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<span style="background-color: black; color: #cccccc; font-size: large;"><b><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Vitalina Varela</span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></b><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">is set in a vacuum. A woman lives in a desolate room in different states of absence. One of those absences is that of Vitalina’s husband. His name is Joaquim, he died. Before he died, he ran away, he disappeared. Vitalina arrives in Lisbon after he died and she finds only the remains of a life never truly lived. She meets an unfinished, damaged house, with images of desire sloppily tacked to the wall and hears tired whispers in the alleys. Another absence is Cape Verde. Vitalina imagines or remembers a happy life together there. In two sublime flashbacks Costa breaks out of the narrow gullies of the Cova da Moura neighborhood into the light. In Vitalina’s longing for Cape Verde we can find the expression, as well as the impossible expedient, of Vitalina’s alienation. In the abyss of a faraway home, a language barely spoken anymore is written on the forgotten wind coming from the seething Pico do Fogo.</span></span></div>
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Astonishingly, the film also shows places that do not really exist, or when they do exist, they are invisible places (like the people living in them),</span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> the kind that cities turn away from, like a cameraman from a failed shot. We go down these streets, passing dark corners where suffering eyes look at us, we see wordless card players shrouded in darkness or a tunnel through which silent people stagger. Costa shows us many paths but they are not leading to concrete places. People emerge from the darkness, light touches them for a second, then they disappear again. Wide-angle shots show less the space than what the space has lost. We find lost neighbourhoods, forests disconnected from reality, tree trunks blocking the skyline, and a sustained darkness that recalls Degas’s statement: “Daylight is too simple.“ The sun is another absence. Everything is poised in the caution of the night. </span></span></div>
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The people get lost, search for each other and don’t find one another. In general, light protects in the films of Costa but in </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Vitalina Varela</b></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> everybody thirsts for the little miracles of light, just a single beam of sunlight penetrating the land of gloom. Shortly after arriving at Joaquim’s house, Vitalina opens the door a tiny crack. Light touches her face, her eyes. She keeps her secrets and dignity against the darkness so masterfully captured by Costa and his cinematographer Leonardo Simões. Their black resembles some of Courbet’s best paintings, especially those in which he paints caves swallowing light. Observations of reality transform into images of the soul. Flickering candle light illuminates images of dead Joaquim. Another kind of light comes through the barred windows (an expression of imprisonment) and enables Vitalina to read a letter. Yet, even the letters, as Vitalina whispers, have all been thrown away. Between light and black, Costa shows life where nothing remains.</span></span></div>
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Parts of </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Vitalina Varela</b></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> were shot in an unoccupied cinema rebuilt into a film studio. The metaphor almost imposes itself: a dead space of exhibition becomes a springboard for new work. Cinema (Light) is dead, long live the new light rescued from the obscurity of a ruin! Costa, a filmmaker who is not assumed to be a man of strong religious faith makes important rituals for Vitalina possible. A man comes into Joaquim’s room (for the house and what we see of it is not much more than that). He blows on the cinders of incense on a plate. Its smoke wafts through the building. Vitalina ties a white headscarf made of silk around her head to express her mourning. Later she wraps it around a cross standing on the nightstand and wears a black headscarf instead. Over a short time, she takes the steps of being a widow just as she descended the stairs of the airplane to arrive in Lisbon. In stressing the absences Costa creates anything but a paradox. He sticks close to a body that wants to abolish an absence. It’s the absence of a woman, an immigrant.</span></span></div>
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">When Vitalina arrives she stands at the back exit of an airplane. She hears the strident breath of the machines, constant chirping which reminds us of heart beats. We meet Vitalina at an exit, she is the woman that will become the film. Costa has repeatedly talked about the importance of first scenes for a character. How to introduce, how to say farewell? Those two questions are at the core of the whole film, a film that brings us closer to somebody we meet </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">on the way out</span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, a film that brings her closer to saying goodbye to someone she lost long ago. </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Vitalina Varela</span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is, among many other things, a film about bringing a relationship to a close, but the longer we follow Vitalina the more difficult and essential it becomes for the film itself to find closure. Vitalina must work with much more than just a deceased husband. She has to work with her rage over his abandonment, her frustration over his betraying their life together. Joaquim was a prowler, a stray dog, a man in a world of men. We never see him but we may imagine him as someone like Spencer Tracy in Frank Borzage’s </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Man’s Castle </b>(1933)</span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, another film about building a home, only with a man who likes to sleep out in the open in order to look at the stars.</span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;">The gangway approaches, an entrance into a new, foreign, and cold world. Vitalina stands on this gangway for the rest of the film, her whole life becomes a gangway. It’s a film about a gangway, if you like. Each step takes her down but also up again. In navigation a gangway used to be a rope or a corded ladder. Maybe this says more about how insecure each step is between different worlds. In having Vitalina arrive in Lisbon barefoot and with drops of wetness on her feet, Costa emphasizes the act of transition. Indeed it’s as if Vitalina was coming out of the water. The film will never recover from these first steps. They are entry and exit, past and present at the same time.</span></span></div>
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Costa has always been a filmmaker of transitions. Be it in his exploration of artistic processes in his films about Danièle Huillet, Jean-Marie Straub and Jeanne Balibar, or in his multiple approaches to the people of the Cape Verde islands. For him cinema begins where we cannot make an easy image. It exists where fixed images deprive and we find change, initiation, or the ashes of a burned house. Speaking about his film </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Cavalo Dinheiro </b>(2014)</span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">,</span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> Costa said it was a film about forgetting. It was about exorcising the demons within the soul of his protagonist Ventura and himself. We can find similar elements in </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Vitalina Varela</b></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> but its protagonist brings with her a prouder memory, a more hopeful lapse. Vitalina is a woman of fading dreams whereas the Ventura of </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Cavalo Dineiro</b></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is a man of nightmares. Costa referred to the two films as twins. Their respective final shots couldn’t differ more. In </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Cavalo Dinheiro</b></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> it’s a brutal look through glass upon a collection of knives, in </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Vitalina Varela</b></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> it’s the peaceful image of a silent past where a house is being built. If they are twins they could perhaps be compared to Artemis (Vitalina) and Apollo (Ventura). Separated among other things by a set of rules they have to live by, fuelled by unspeakable anger but each representing the fate of their gender and their people. Homer called Artemis “She of the Wild”; to think of Vitalina as a woman from the wild makes her prison in Joaquim’s house ever more cruel and touching.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib0o3nRVcUl_ST4SNEcL4jQP1UPL4vQeQg8v9dlxTry-d7IiTFkSJD6gIN4V7CHnX-o6DPVoCQXftdCGR9x5zU-C1Sleqi8jdEVhFfljPWj9I4703x0gZ5oBeuizdbanwhC8k8/s1600/vlcsnap-2020-02-13-01h30m15s184.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib0o3nRVcUl_ST4SNEcL4jQP1UPL4vQeQg8v9dlxTry-d7IiTFkSJD6gIN4V7CHnX-o6DPVoCQXftdCGR9x5zU-C1Sleqi8jdEVhFfljPWj9I4703x0gZ5oBeuizdbanwhC8k8/s1600/vlcsnap-2020-02-13-01h30m15s184.png" /></a><br />
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<span style="background-color: black; font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;">A group of workers, of cleaning women, receive Vitalina at the airport. They act almost like a choir in a Greek play. They deliver the news to Vitalina, using the same words as the synopsis for the film: she is too late for the funeral, there is nothing in Portugal for her, she should return. It is not only for scenes like this that the emotional conflict seems more accessible than in other films by Costa. From the moment Vitalina arrives, the film is more self-evident than any of his other works. Vitalina evolves as the presence among the absences. The film presents her an opportunity. It opens something. She has time to talk about her feelings, she can say what’s on her mind. Cinema as a machine of emancipation. Sitting in semidarkness, her right hand anchoring her to the seat, slightly out of balance but stable, she directly addresses he who is not there. She resists the darkness around her. Behind the camera, inside the camera, beyond the film somebody must pay attention to her. The camera of Costa is like a state theatre for those nobody ever listens to. There may only be a little light but there is time and patience. There is a will to listen. This is what Costa’s cinema is all about. Vitalina is given a possibility to be, to speak, to mourn. She may be performing acts she couldn’t in “real life“. It is never just about the representation of life, it is about revolting against life as it is. Thus reality becomes a necessity where cinema can exist. If Vitalina herself chooses the words she says or if she follows Costa’s instructions does not change the film at all. It only changes its genre. But what is a genre when facing a real human being? The film, and not only in this way, also naturally revolts against certain ideas that have overtaken the promise of cinema.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv40fLjeXUI0HFoM1pmbYI4LmdzWci4VRCLuhKw_0fNEefT6lKO_AFjMq1AO7ew4IlmZCTe4sz5DBrUgidSqULvLUSaW7RUqRXRHdj1XfxMCAC4mFL_2BXVMjHziZf1XJBLUby/s1600/vitalina_500167608-1024x768+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv40fLjeXUI0HFoM1pmbYI4LmdzWci4VRCLuhKw_0fNEefT6lKO_AFjMq1AO7ew4IlmZCTe4sz5DBrUgidSqULvLUSaW7RUqRXRHdj1XfxMCAC4mFL_2BXVMjHziZf1XJBLUby/s1600/vitalina_500167608-1024x768+%25281%2529.jpg" /></a></div>
<span style="background-color: black; font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupFRDBdf_YnnjLZV3pvQ7EzNTzs5TQNYM92HdR5ZCuyDHEn42itTR1foF0apjABse5p5hBo4L6QVflVAayj2fat3TfUKks0gOU3oevwwxYFj2ag2J7NKP5VUG9elesNYGXu8i/s1600/vlcsnap-2020-02-12-02h16m49s549.png"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupFRDBdf_YnnjLZV3pvQ7EzNTzs5TQNYM92HdR5ZCuyDHEn42itTR1foF0apjABse5p5hBo4L6QVflVAayj2fat3TfUKks0gOU3oevwwxYFj2ag2J7NKP5VUG9elesNYGXu8i/s400/vlcsnap-2020-02-12-02h16m49s549.png" width="400" /></a></span></span></div>
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<div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Costa’s films have almost always been portraits. They take the risk of being face to face with people. In his portraits of Jeanne Balibar and Huillet and Straub we see that work can be a luxury of the so-called western world. The artists have something to do, they practice, edit, discuss, sing and soliloquize. The people of the outer Lisbon suburbs instead often sit without being able to move. They are too tired to discuss, too desperate to sing. Even if they sing they sing as “the man who sings is not always happy,” as Pierre Bonnard put it in his diary. Nevertheless they meet as outsiders and friends. Nevertheless Costa has always granted his protagonists the chance of an illusion. In</span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Vitalina Varela</b></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> something else is at play, something beyond acting, beyond theatre. It’s as if Vitalina could hold the camera herself in order to fight her demons. Cinema is more than an encounter with her, it’s an exchange. An exchange between the drama of Vitalina and the power of cinema, the imagery of Costa with the anger of Vitalina. It’s not a conflict between cinema and life, it’s a form of togetherness. Maybe the film most like it in Costa’s oeuvre would be </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; font-weight: bold; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Ne change rien</span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b> </b>(2009) </span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">in which he accompanies Jeanne Balibar during rehearsals, working on her performance as a singer. Both films share the darkness and a moon-like light which shines on a person, Vitalina and Balibar. It’s also true that both films show a decidedly female world (whatever that means). However, these are female worlds as counterpoints to their actual settings, which are the worlds of music and immigrants, two worlds dictated by men. </span></span><br />
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEzfre_L1q7VhwkYhBVfYN9RyqXE_pN7Pt_SXoQe-ss6TWfCFKEguBJajo-lZcrvy-NjUPXCkYm_D-faX7JocdgQTXHbLik3q8otly0lFNlV7qddNlCHoceQVk7TgA7a_u1eGO/s1600/Screen+Shot+2020-02-12+at+3.27.15+PM.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEzfre_L1q7VhwkYhBVfYN9RyqXE_pN7Pt_SXoQe-ss6TWfCFKEguBJajo-lZcrvy-NjUPXCkYm_D-faX7JocdgQTXHbLik3q8otly0lFNlV7qddNlCHoceQVk7TgA7a_u1eGO/s1600/Screen+Shot+2020-02-12+at+3.27.15+PM.png" /></a></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;"> </span></span></div>
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Speaking of men, Ventura, the star of Costa’s Cape Verdean ensemble, whom Costa refers to as an actor belonging to the studio era, reappears but he is not Ventura. He is a priest. To all those who talk and write about Costa’s cinema as if it was lying about the nature of its actors, this is a broad hint. Many have thought of the roles of Ventura, Vanda and so on as fictional variations of their true selves. Even if that was or is true, this was never the point of working with them. Costa’s films are about acting, about liberation through being somebody on a screen. Ventura’s turn as a priest reminds one of Vanda’s switch of roles between </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Ossos</b></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (1997) in which she is Clotilde and</span><b><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">No Quarto da Vanda</span></b><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: "times new roman"; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(2000) </span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">in which she is Vanda. With Ventura, the trembling of his hands remains because he is a real human being, but the role changes. Ventura the priest steps into puddles, stumbles through narrow passages only steadying himself on wooden lamp posts while speaking in riddles and rhymes. It’s a soliloquy as elegy. Repeatedly he collapses. It’s a sort of agony.</span></span><br />
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Ventura is the priest who buried Joaquim. Like the charwomen he tells Vitalina that there is nothing in Portugal for her. The door has no lock and he could hear a man crying all night long. In his character another absence is mirrored. For him Cape Verde is not a yearning memory. He suffered despair and cruelty there, too. His inner turmoil and darkness come from a place he can never return to. Each night he sits on the empty chairs of his forgotten church and cries. He is a priest who exchanged his faith for fear. So, Ventura also lost all he had. Vitalina won’t find any light in this church. Nevertheless Ventura knows a path leading out of alienation. He doesn’t preach it because he doesn’t believe it anymore. But he says that there is a common place in heaven. Who can hear a sentence like that and try to understand what it can mean? Maybe between two people having lost someone or something it can revive and help. The twins reunited, as Vitalina played a role in </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Cavalo Dinheiro</b></span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> in order to help Ventura, whereas now Ventura plays a role in order to help Vitalina.</span></span></div>
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">But is Vitalina really mourning or is her grief just a pretense for an accusation? It’s true that we see her cry once, and that she follows the rituals of a widow with great care and respect. Yet a certain defiance or even indifference speaks through her movements. Behind the grief lingers a pain that goes deeper. It’s a collective pain. It’s not about some worn out metaphor relating Vitalina as a symbol for all immigrant women, but in the sense of a collective work of mourning. It’s about sharing pain (in cinema). This pain is loss, is the silence of the few drowning in the noise of the many. It’s the pain of injustice. Somehow the film manages to communicate this pain. Even in the language it is felt. </span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Vitalina Varela</b></span><span style="font-family: "times new roman"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">goes beyond cinema, further than Costa’s other films even if he romantically remains a man of cinema. The question of why he films these people instead of just helping them never occurs. It is obvious that cinema is a way of helping. </span></span><br />
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<span style="background-color: black; color: #cccccc; font-size: large;"><span style="font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div>
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<span style="background-color: black; font-family: "times new roman"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #cccccc; font-size: large;">How much of Costa’s work owes to an understanding of the language of cinema can be seen in his use of sequences. He builds certain sequences consisting of a couple of consecutive scenes where motifs reappear and characters go through a set of detailed movements that relate them to the world. An example is the arrival of Vitalina at the airport. It is followed by shots showing her opening doors, striding through thresholds or moving curtains aside. From shot to shot we see more of her and she sees more of this world. Such a construction is much more reminiscent of Classical Hollywood narration than it is of the European art film or (God forbid!) contemporary cinema. Other examples of its construction are the stories that Joaquim’s companions tell during the film, or the recurring images of the nightstand, or the grid motif behind which we sometimes see the protagonists. Yes, we can confirm, the film is built like a house. Images are standing on top of each other like bricks. Take one out and everything collapses. </span></span><br />
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<span style="background-color: black; color: #cccccc; font-family: "times new roman"; font-size: large; text-indent: 36pt; white-space: pre-wrap;"> If you look around the house of </span><span style="background-color: black; color: #cccccc; font-family: "times new roman"; font-size: large; text-indent: 36pt; white-space: pre-wrap;"><span style="font-family: "times new roman"; font-style: italic; vertical-align: baseline;"><b>Vitalina Varela</b></span><span style="font-family: "times new roman"; vertical-align: baseline;">, if you listen to her, watch her, risk coming closer to her, if you trust or doubt, accept or question, then you might feel fragility and strength at the same time. You might sense a confidence in intimacy and patience unknown to you from the cinema of today. In a world where cinemas crumble like churches and filmmakers stumble through the darkness like Ventura, in which a discourse about immigration is inhuman and full of clichés, in which people and films become numbers—in this world you might think of another absence which is the cinema. And it is against this absence that Pedro Costa fortifies his perception and sensibility and it is you (and me) who would be wise to learn from it.</span></span></div>
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<span style="color: #cccccc; font-family: "times new roman"; font-size: large;"><span style="background-color: black; white-space: pre-wrap;"><i>Orignally published in German as </i></span></span></div>
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<span style="color: #cccccc; font-family: "times new roman"; font-size: large;"><span style="background-color: black; white-space: pre-wrap;"><a href="http://www.jugendohnefilm.com/teurer-zement-vitalina-varela-von-pedro-costa/">Teurer Zement</a> <i>on Holzapfel's site </i><a href="http://www.jugendohnefilm.com/">Jugend ohne film</a><i>.</i></span></span></div>
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<span style="font-size: large;"><span style="color: #cccccc; font-family: "times new roman";"><span style="white-space: pre-wrap;"><i><span style="background-color: black;">English version </span></i></span></span><i style="background-color: black; color: #cccccc; font-family: "times new roman"; white-space: pre-wrap;">by Patrick Holzapfel, edited by Andy Rector.</i></span></div>
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<span style="color: #cccccc; font-family: "times new roman"; font-size: medium;"><span style="background-color: black; white-space: pre-wrap;"><i>production still from </i>Vitalina Varela</span></span><br />
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<span style="background-color: black;"><span style="color: #cccccc; font-family: "times new roman"; font-size: small;"><span style="font-size: large; white-space: pre-wrap;">Vitalina Varela <i>screens for the first time in Los Angeles this Saturday, February 15th at 8pm, at the Downtown Independent as part of the "Locarno in L.A." series. </i></span></span></span></div>
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<span style="background-color: black;"><span style="color: #cccccc; font-family: "times new roman"; font-size: small;"><span style="font-size: large; white-space: pre-wrap;"><i>Pedro Costa will be in attendance.</i></span></span></span></div>
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<span style="color: #cccccc; font-family: "times new roman"; font-size: small;"><span style="font-size: large; white-space: pre-wrap;"><i style="background-color: black;">Info: <a href="https://locarnofestivalinlosangeles.com/vitalinavarela">here</a>.</i></span></span></div>
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Andy Rectorhttp://www.blogger.com/profile/15870363285627741234noreply@blogger.com0