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Muriel, or the Time of Return 1963
Requires a second viewing. But without question I can say that the combined document of Hiroshima mon amour, Last Year at Marienbad, and Muriel makes for one of (if not THE) most significant reflections on time, memory, and alienation in all of cinema.
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The Vampires or, The Arch Criminals of Paris 1915
Hard to parse thoughts on something so gigantic. Something about the visual representation of paranoia. Something about networks of myth making. Something about cinematic attention and meaning-making. Something about the staying power of fractured images. Something about Mazamette. Something about performance, masks, and poison.Something about “I am a movie fanatic!”
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Blackhat 2015
I drastically underrated this on my first watch. In Blackhat, Mann’s archetypal "doomed protagonist" scales up—working alongside governments, traveling internationally, balancing the fates of countless men and women unknown. It is no longer the world of regional crime, but a world of ubiquitous threat, the inscrutable anxieties of modernity.
The dismissal the film has received (and my own lackluster first watch), must have something to do with how enthusiastically Mann employs the language and theatrics of cybercrime. The language of…