Un fil de ce film--une grille pour voir ce qui s'y passe--c'est la transformation d'un visage, celui de Morvern. Je l'ai remarqué pendant la dernière scène, lorsqu'elle dansait à sa propre musique tandis que les lumières stroboscopiques éclairaient telle ou telle partie de sa tête, de son cou, choisies indifféremment. Elle ressemblait à une planète, obscure dans le noir de l'espace, que révèlent par intermittence des coups de foudre. En fait, son visage devient de plus en plus nuageux au…

i think when i watched the original i was intentionally deaf to the 'incriminating message' of the movie (wherein the viewer is incriminated for wanting a violent spectacle) because it was so spoonfed and uninteresting that i just instinctually blocked it out. but then i was kind of left with nothing. except of course love for susanne lothar.

maybe because i give myself freer rein to read american social conventions than german ones, i did get something more this time.…

how can i even begin a review for TÁR? when i first saw the poster for this movie a month ago i became completely transfixed. i think everyone who knows me in real life has heard me talk more than they would've liked about the title and poster alone: the unparsable "TÁR", not a word and not even a phonetic element but the sound of a beetle flying past your head, the movement of a chainmail sack of crude oil…

“Set justices aside, then, and what are kingdoms but thievish purchases? Because what are the thieves’ purchases but little kingdoms?” (St. Augustine, The City of God)

the multiple overlapping and intersecting social structures within the city do not even disagree or do harm to one another but are used to extract parallels. two groups of men smoking around tables, sitting in smoke-filled rooms; two groups of men arguing, and making plans. the =x between the two… defending the innocent, picking out…