I watched this just after reading and discussing David Bordwell's ideas about classical narration, so this made me think of Hansen-Love (whom I've always loved) as a kind of radical narratologist, which I'd never really thought of before. Here, her storytelling is quite loose: there's usually no causal linkage between scenes -- we seem (early on, especially) to see one random thing, then another random thing (Seydoux at her job as a translator, Seydoux cuddling with her daughter, Seydoux visiting…
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Through the Olive Trees 1994
I had that all-too rare experience of appreciating a film I loved even more because of the experiencing of teaching it. The first time I saw the movie (at the Museum of the Moving Image in Queens (then called the American Museum of the Moving Image) back in 95 or 96) was one of the very few moments I left a theater feeling as if my mind had split open (my first screenings of L'AVVENTURA and of Apichatpong come to…