Pier Paolo Pasolini, La Rabbia (1963)
“Culture covers new ground: a new surge of creative energy in literature, film, painting. A huge favor to the great possessors of capital. The servile poet cancels himself out, treating problems as unsolvable and reducing everything to form. The powerful world of capital adopts, as it bold banner, an abstract painting. Thus on the one hand, as high culture becomes more and more refined and for the few, these "few” become fictitiously “many”: they become a “mass”. It’s the triumph of the “digest,” the illustrated magazine, and television above all. “
- Pier Paolo Pasolini, response to a reader, Vie nuove , no.38, 20 September 20 (1962)
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Alice Rohrwacher on La Ciénaga (Lucrecia Martel, 2001)
“I chose this one because of the feeling I get in sharing in a genius-like intelligence; it makes me understand how a viewer can participate in true genius. That gives me vertigo. This incredible intelligence is revealed by certain images and details so that it sparks your desire to look beyond, to look deeper, to follow certain signs. The other thing that is important for me in her films is the approach to fear. I don’t like movies that are scary in the sense that they introduce me to new fears I didn’t have before—I don’t like that at all. But Lucrecia’s movies help bring to the surface fears that were already in me, and by showing them to me, I am allowed to accept them and understand them and work on them.”
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Werckmeister Harmóniák (Béla Tarr, Ágnes Hranitzky, 2000)
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Post Tenebras Lux
2012 Directed by Carlos Reygadas
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Synecdoche, New York (2008) dir. Charlie Kaufman
“Now, you are here. It’s 7:43.
Now, you are here. It’s 7:44.
Now, you are… gone.”
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Mauvais Sang | Leos Carax | 1986
Denis Lavant, et al.
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Jean-Luc Godard - Histoire(s) du Cinéma (1998)
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Faust (2011) dir. Alexander Sokurov
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Dogtooth (Yorgos Lanthimos, 2009)
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