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A film is like a battleground. But not exactly in the manner of Samuel Fuller’s romantic aphorism in Pierrot Le Fou. Film history is in reality the history of film distribution, just like the modern history of war is the history of its distribution. A camera and the film industry, a rifle and the munitions industry are analogous in that order. The abundance of munitions and the lack of it; the privilege of misfires. The dividing line is between…

Brady Corbet's sentences are Haneke's ultimate grammar, which in Haneke's films is in part a misunderstanding of the emotions stemming from Bresson's models-actors in period films. Or to state it in two sentences: Haneke's repeated regurgitations of the violence at the end of Lancelot du Lac, taking no lessons from the sentimental education of Bresson's semiotic staging where the visual signs correspond to an exposure of a way and a time; or in Bresson's own words: "confusing pessimism with lucidity."…

Ferrara’s most remarkable film because of its incompleteness, which due to the nature of the medium (in dissolves, cuts, ellipses), is a totality by omission. That Sandii is Pandora armed not with a box but a computer disc is an afterthought. What is truly disconcerting is the fusion between dream, memory, and video recording that permeates throughout the film. X’s recollections during the latter half of the film in particular constitute a cinematic stream of consciousness that I’ve only encountered…