former critic who has lost his country and is therefore an interest in being republished here. I would like one day write more in detail on the Altman film.
Short Cuts it already was: no plot, no "attention starts" or "it's over" because Altman has the idea that the film has to pretend to continue without us, off-camera, and also our own lives; we do not decide to go, we take everything, even when swallows were hungry, that's what the film comes to understand our own lives .
Short Cuts was already as this: we take the best of the best players and they are played, so that we remember suddenly how much they are respectful to our service and it was never intended to flatter a day, or at least just love them for their ability to mimic so well man, too many things to crystallize in him a simple gesture. Altman
adopts the perspective of a benevolent God and love of his creatures, he forgives everything and shows why he forgives because people are unique, inconsistent, touching in their stupid adults. The camera is one that takes men in flagrante delicto and they said 'look what you did "you're behind the charade that is insane the world of fashion. He also says, in essence, humanity, you're beautiful in your inattention in your abandonment, fairs you everything you undertake, your beauty escapes you and she is beautiful because it escapes you : you are beautiful in your bathrobe, you are beautiful in your weakness, you're ugly when you control when you think you control it.
is officially "that's the Fashion, the building rather strong, this monster with the rules (the parade of credits in the end credits is spectacular) and informally" these are the men, weak, loose, inconsistent, unfaithful, conceited. Fashion
ago, this institution became autonomous, escapes and swallows the world, which has its own workers and its customers, and a director who decides to make the imagination of what is foreign to his own honey, invest the place in the presence of men and women, bodies and stories, and fuck really mess with the fashion week.
Altman that he denounced denounces without ever showing coarsely stress (even if show is already noted), there is a large wreath of crepe paper snowmen in detail where it says nothing important but where all says it all: he said "life is a series of stories to tell," Altman does in fact continue as the means of film sets, images, atmospheres that Raymond Carver was trying to plant in our heads with his stories, but "fashion is still life, still the man." The film also has the virtues of story and ignores its shortcomings, dense and delightful as her, but preferring the length of a fresco, the idea of ensemble film pushed into a corner, rather than its frustrating brevity .
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