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Moxon’s Mechanick Exercises or the Doctrine of Handy-Works Applied to the Art of Printing 1999
I thought to have given these Exercises, the Title of The Doctrine of Handy-Crafts; but when I better considered the true meaning of the Word Handy-Crafts, I found that Doctrine would not bear it; because Hand-Craft signifies Cunning, or Sleight, or Craft of the Hand, which cannot be taught by Words, but is only gained by Practice and Exercise. — Joseph Moxon
(Along with Sir Robert Beavers, Gatten is one of the few filmmakers that understood craft as both a way of making and a way of thinking. A name among the greatest stars.)
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Threnody 2004
Just as in Variations, every second is a memento from the world. Creating his textures with light on surfaces, Dorsky invests all his passion on materiality, and a simple shot turns into a desirable thing, a revered object. Fragmentary editing aesthetics contribute for a transformation of the filmmaker in a collector of beauty, desperately trying to organise his particular and trivial cosmos. Titles of both films may point to a musical approach, but cinema can't get more tactile than this.
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The Shop Around the Corner 1940
Enquanto floresce, aos trancos e barrancos, a paixão entre os dois anônimos trocadores de cartas, somos nós quem simultaneamente nos entregamos ao sublime toque lubitschiano: o misto de poesia com sagacidade está presente tanto nas epístolas quanto nas situações cômicas, e tanto na relação oscilante dos apaixonados quanto nas piadas que são articuladas em suas vozes. O espectador é o destinatário da graça que Lubitsch escreve na tela, e a recebe como se descobrisse o amor.
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Le Révélateur 1968
Cinema é sonho – a arte do futuro é a arte do sonho. O melhor cinema será feito por aquele que mais sonhar. — Júlio Bressane
