"But Adieu is also (perhaps more) analogous to something like Michael Snow's *Corpus Callosum (2002): a container for mischievous formal experimentation that allows its maker an opportunity to blow wide open all assumptions surrounding the material capabilities of the medium. (To which Clement Greenger said, "Amen.") ... Dutch angles create the impression that figures and objects might slide out of the frame at any moment, while an upside-down shot of a car screeching to a halt is as gravity-defying as anything in Cuarón's 3D outer-space blockbuster."
To read all of Blake Williams' great review of Jean-Luc Godard's Adieu au Langage pick up the Summer 2014 issue of Cinema Scope.
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