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  • Edvard Munch

    Edvard Munch

    ★★★★★

    At first glance one wonders what a committed leftist/Marxist like Watkins, dedicated to emphasizing man's social conditions over the individual's private life, might have to say about Expressionism. As this docu-drama unfolds it soon becomes clear - if Impressionism is about objects from the perspective of light, Expressionism is of the world by the artist not as a unified being but fragmented as micro-sensibilities shaped by milieus. The difference is crucial. While heretofore works of art extol perspectives, with vision…

  • Vertigo

    Vertigo

    ★★★★★

    The precession of the simulacra where images dizzy the subject and drive it to reproduce the signs associated with the object. A world without depth but vertiginous surfaces that slip & slide. The feigning of the depths where there is none - Scottie's condition is not just metaphorical but literal. The more he sought to manipulate the signs of his object of desire, the more he falls victim to them. Such is the death drive - both a repulsion and fascination…

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  • 'Til Madness Do Us Part

    'Til Madness Do Us Part

    ★★★★★

    "The repetition of daily life amplifies the existence of time. And when time stops, life appears." Wang Bing

  • Near Death

    Near Death

    Wiseman's fascination with institutions and the forces which underpin their day to day function now centered around the decision-making process in his masterpiece, Near Death. The negotiation between four interlocutors - the patient, relatives, nurses and physicians - as a perpetually on-going process which is radically subjected to change. A decision that is as paradoxical as a non-decision, especially the case when it could determine the outcome of life and death. In a sense, there's a metaphysical point to be made regarding any form of decision as radically uncertain and its relation to justice as an impossibility.