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  • Home from the Hill

    Home from the Hill

    Super ugly yellow print. Walked out after three or four reels and saw a programme of 35mm Mutoscope and Biograph shorts followed by an interesting lecture on digitally restored clips from Queen Victoria's Diamond Jubilee (June 22 1897) and restoration of large format 1897 projects underway at the BFI.

  • Das Bacchanal des Todes

    Das Bacchanal des Todes

    In a programme with [Ein K.U.K. Feldkino-Zug wahrend des Ersten Weltkreiges] (1916), Russia on the Eve of Revolution (?) (1917), Zwei blaue jungen (1917), [De petroleumbrand te Vlissingen: een overzicht van der ruine] (1917 -- the obvious stand out), Azione della R. Marina nel Golfo di Trieste (1917)

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  • Seven Samurai

    Seven Samurai

    Believe it or not, I had never seen this before tonight when I watched it on the enormous screen in the Piazza in Bologna, which I guess makes it one of my most successful holdouts. Kurosawa, as great as he often was, has never been one of my favourites. He's the paradigmatic director in my unspoken, crackpot theory about perfectionist filmmakers. Were I ever to try and formulate this set of prejudices and hang ups into a clumsy theory—perhaps in…

  • Hit 2 Pass

    Hit 2 Pass

    Walker's is a nerdy, cube-like style: shots of busy knees knocking about a scene; odd angles; oversymmetrical framing; sluggish, distended editing never gunning for an obvious move. It's a film where the forced impositions put upon otherwise unsculpted material stretch our perceptions between extremes; the effect is of observing constant lateral invention and editorial improvisation. There's no either/or in this film. The most contrived, fantastical scenes are shot-through with a simple splash of reality, stretched beyond believability by a refusal…