Cinémathèque Annotations on Film
Three Crowns of the Sailor
Glorious. That is the word I would use to describe Les trois couronnes du matelot (Three Crowns of the Sailor, 1983), Raúl Ruiz’s French feature
Time Regained
“time is a fluid condition which has no existence except in the momentary avatars of individual people. There is no such thing as was –
Fragmented Subjectivity and Narrative Deconstruction in Three Lives and Only One Death
“I think in any film worth seeing you should identify with the film itself, not with one of its characters.” – Raúl Ruiz (1) Throughout
The Saragossa Manuscript
“There should be a ladder under every window. Just in case.” - Busqueros in Rekopis znaleziony w Saragossie (The Saragossa Manuscript, 1965) Jan Potocki’s The
“The Fiery Beauty of the World”: Wojciech Has and The Hourglass Sanatorium
“It was then that the revelation took place: the vision of the fiery beauty of the world suddenly appeared, the secret message of good tidings,
The Girl with the Hatbox
The first solo effort by Boris Barnet, Devushka s korobkoy (The Girl with the Hatbox) opened during a pinnacle year for silent cinema. Called “annus
The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks
Long recognised as the pioneer of the “Kuleshov effect”, teacher of future cinematic talents such as Sergei Eisenstein (who attended Kuleshov’s Film Workshop for three
Cinémathèque Annotations on Film
Contents: Manjari Kaul on The Burmese Harp Darragh O’Donoghue on Kokoro Margaret Barton-Fumo on Kanto Wanderer David Melville on Flowers & the Angry Waves Adam
Electra Revisited: On Claire Denis’ 35 rhums
“O pardon the one who knocks for pardon at your gate, father – your hound-bitch, daughter, friend. It was my love that did us both
Green Fish
Lee Chang-dong’s wrenching, tonally nuanced first film, Chorok mulkogi (Green Fish, 1997), packs a quiet wallop. By turns emotionally coercive, visually subtle, and as ruthless