tag:blogger.com,1999:blog-8347718.post3210445779780592693..comments2024-03-28T02:21:05.851-07:00Comments on VINYL IS HEAVY: Round sound and stopped clocks. Stellet Licht sees sun spots.Ryland Walker Knighthttp://www.blogger.com/profile/09233954424885027837noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-8347718.post-72095146397549162092021-10-07T07:24:37.663-07:002021-10-07T07:24:37.663-07:00토토사이트 I recently found many useful information in ...<a href="https://www.garnetandblackattack.com/users/slotn385" title="토토사이트" rel="nofollow">토토사이트</a> I recently found many useful information in your website especially this blog page. Among the lots of comments on your articles. 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Exciting to read your honest thought.<br /><br />ടɬσ𝜏𝓶α𝓬ԋιɳҽടι𝜏ҽ𝓬σ𝓶https://www.blogger.com/profile/05565937977243361379noreply@blogger.comtag:blogger.com,1999:blog-8347718.post-30723599483506634172007-12-23T02:58:00.000-08:002007-12-23T02:58:00.000-08:00Yeah, Ry, you gotta see Passion of Joan of Arc, ei...Yeah, Ry, you gotta see Passion of Joan of Arc, either at the PFA or the excellent Criterion disc.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-8347718.post-49746348465795042102007-12-21T13:06:00.000-08:002007-12-21T13:06:00.000-08:00I wish that references to the Dreyer film (You've ...I wish that references to the Dreyer film (You've never seen ANY, Ryland? Get thee to <I>Passion of Joan of Arc</I> at the PFA next calendar!) weren't so obligatory to be mentioned by practically everyone who writes on this film. I don't usually read reviews of films I already know I want to see, so I hadn't been reading about this one, but still inevitably kept hearing <I>Ordet</I> <I>Ordet</I> <I>Ordet</I>, and consequently I was able to predict the film's two most notable events well before they occurred. Maybe it's terribly shallow to care about so-called 'spoilers' for a poetic film like this one (is a Shakespeare sonnet 'spoiled' by hearing the volta quoted out of context?). Reygadas has created something to appreciate outside the context of narrative expectation, and perhaps it's somehow 'purer' to experience the film that way, but I could have done that the second time through. I feel a bit robbed. <BR/><BR/>Mentioning <I>Ordet</I> in a review for this film is akin to mentioning <I>the Crying Game</I> in a review of a film whose plot hinges on someone hiding their true gender. Or perhaps mentioning <I>Au Hazard Balthazar</I> in a review of a movie structured around a surprise appearance by a donkey. But since everyone else has mentioned it by now, a review of <I>Silent Light</I> that DOESN'T contend with Dreyer somehow seems incomplete... Frustrating.<BR/><BR/>Hopefully I can get over this annoyance; it's not a problem with Reygadas or the film itself, which is clearly something special. Not since <I>Signs</I> have I seen a film that so directly takes on the question of what it means for a director to be God of his constructed universe...Brian Darrhttps://www.blogger.com/profile/17693169310367670898noreply@blogger.comtag:blogger.com,1999:blog-8347718.post-34430303417181544972007-12-21T00:19:00.000-08:002007-12-21T00:19:00.000-08:00From Dan Salitt's Toronto coverage at Senses of Ci...From Dan Salitt's Toronto coverage at <A HREF="http://www.sensesofcinema.com/contents/festivals/07/45/toronto-iff-2007.html" REL="nofollow">Senses of Cinema</A>:<BR/><I><BR/>2007’s crop of competition films at Cannes was widely considered the strongest in years. Mexican director Carlos Reygadas’ Stellet licht (Silent Light) is one of the acclaimed Cannes titles that has already received extensive coverage – and yet commentators have had difficulty finding a conceptual framework to integrate such hot-button aspects as its conspicuous borrowings from Dreyer's Ordet (1955), not to mention the seemingly self-sufficient virtuoso tableaux that begin and end the film. It's becoming increasingly clear that Reygadas skews more postmodernist than modernist, and perhaps his suggestions of a unified aesthetic enterprise (like the clock that is stopped early in the film and started again after the climax) are red herrings. The extraordinary physicality of his camera style, and his fascination with large-scale systems (natural, organic and mechanical), serve largely to defamiliarise the world; and his visuals can be seen as an attempt to remove camera movements and compositions from their traditional interpretive role, and to invest them with a weight and a physics that renders them autonomous.</I>Ryland Walker Knighthttps://www.blogger.com/profile/09233954424885027837noreply@blogger.com