tag:blogger.com,1999:blog-35348238.post887818398695941629..comments2024-03-28T11:25:51.846+01:00Comments on Unspoken Cinema: Jeanne DielmanBenoitRouillyhttp://www.blogger.com/profile/13525748892885946674noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-35348238.post-62680832331148335172009-07-27T19:36:49.549+02:002009-07-27T19:36:49.549+02:00Thanks Harry...
I don't understand why many ...Thanks Harry... <br /><br />I don't understand why many people equate slow and contemplative. I have never found a Bela Tarr movie slow (may be except The Outsider). On the contrary, there is tension palpable in every frame.<br /><br />And you mention chronology. In Saless's brilliant Still Life (1974), the chronology is completely shattered - awesome choice. When time does not move (or Just Another Film Buffhttp://theseventhart.infonoreply@blogger.comtag:blogger.com,1999:blog-35348238.post-39672030188553548492009-07-27T19:04:38.690+02:002009-07-27T19:04:38.690+02:00Thank you for cross-posting this great review! And...Thank you for cross-posting this great review! And welcome to Unspoken Cinema.<br /><br />Jeanne Dielman is a wonderful model for CCC, and I wish people would use it as a reference when they wonder whether a film is CCC or not. This is how far CCC goes into minimalism. It's properly ascetic, not just merely slowish.<br /><br />I don't think this film needs speculation about the motive of HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.com