Hi! It feels good to be writing in here again.

As some of you may know from my previous log, I had to take a break for a while to deal with some personal problems. That time off did not only mean a change of place for me but also a break that I really needed. To make a long story short, I have things under control now, my mind is clear and I am willing to get back to…

I’ve always had a certain affection for found footage, even in its most ridiculous forms. There’s something inherently destabilizing about the format when handled with even a minimum degree of intelligence: the collapse of classical mise-en-scène into panic, awkwardness, dead time or accidental gestures. But here? Christ, how pathetic.

The problem that becomes painfully evident in this format he chose (that has haunted his works for years) is that he simply does not understand how human beings speak, react or…

Strikingly rich in terms of narrative technique, where one sees an opening 'panoramic' shot not only providing spatial context but setting up the very emotional context as well, thus establishing the very "geography" of emotions. Griffith builds the whole dramaturgy bit by bit, shot after shot, through creating a map of relations, tensions and hierarchies before the drama unfolds properly. But what I am intrigued with is the second panning shot, which no longer feels purely descriptive. The camera appears…