A suffocating and painful work, always locking our eyes in the evilness, hypocrisy and purity of everyone involved and nothing else, just like Joan herself. Bresson's methodical style perfectly fits with the extensive use of dissolves to capture the feeling of a repetitive, tirying and long process. Until the end, when the movie is finally set free in simple but miraculous ways, the picture itself becoming Joan of Arc as she dies, a transmutation of character and medium.
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The Wings of Eagles 1957
In theory this is “Spig” Wead biography, but in its essence, 100% Ford's self-portrait. At the same time a beautiful celebration of life (the small moments) and a sad account on how impossible it is to concilliate our loves (the "important" stuff: marriage, duty, creativity...). All of that shown through Ford's usual formal mastery, but this time surprisingly impressionistic - lots of long dissolves, re-used war doc footage (this specific moment is pure sensorial attack) and elipses like one would…
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Nomadland 2020
Lots of interesting ideas on display. The eliptical narrative and sudden cuts capture well the main character situation and headspace, and has good attention to detail and humanity, populating this world with characters and moments that indeed feel real.
However, its formal approach is incredibly formulaic. Every single scene, no matter how emotionally or narratively different from one another, has the same blocking and movement, whether it's the freedom of the road or the enclasurated workspaces. By shooting everything the… -
The Red Light Bandit 1968
"VENDEU SUA ESPOSA PARA PAGAR CONTA"
cânon da bandidagem porra-louca
síntese do terceiro mundo
OVNI em terra de gângster é atração
