Alucinado com a revisão de Noites brancas, o kammerspiel UFA de Visconti. Sorry, mas Visconti para mim é A terra treme, Senso e Noites brancas; o resto é a vulgarização da quintessência de seu cinema memorialista e crepuscular.

Psycho's

“Hithcock extended the transition from life to death into the surrounding mise en scène (Psycho). For a moment, the stillness of the recently animated body is juxtaposed with the stream of water still pouring from the shower, inanimate material in unrelenting movement. First, in close-up, the water runs down the drain, creating a circular axis that the camera echoes just before this image dissolves. The circular movement prefigures the nex close-up on Marion’s eye. As the involuntary flickering of the eye is usually a guarantee of life itself, its fixed, inanimate stare becomes uncanny. Just when the image’s stillness seems necessarily to derive from a photograph, a single drop of water falls in front of the camera. Its effect is to reanimate the image, to create another contrast with the inanimate corpse. The paradox of the cinema’s uncertain boundary between stillness and movement also finds a fleeting visibility. The stillness of the “corpse” is a reminder that the cinema’s living and moving body are simply animated stills and the homology between stillness and death returns to haunt the moving image. ( grifo meu).”

Laura Mulvey, Death 24 x a second

É incrível como de um único filme, Psicose- falo esquematicamente, ma non troppo- nasceu todo um movimento, uma história para o cinema: o maneirismo. Um filme sobre o corpo morto mas ainda habitado por fantasmas, ainda capaz de inspirar e assombrar; um movimento sobre um corpo morto- o cinema- e ainda habitado por fantasmas...

"The Blackout responds clearly to this question: ordinary psychic experience organizes a permanent desynchronization between the event and its intellection. Ferrara’cinema reproduces the phantomatic latencies, echoes, remanences, transferences, confusions, and illusions (allucinations, fantasies and approximations) that disalign us from the real and yet are our own life. Following the ferrarian logic of ecstatic exacerbation, The blackout describes the ordinary mode of affective experience as delirium, an ensemble of silhouettes, contours, and overlappings –what Edmund Husserl calls “phantoms”. Only by seizing this ensemble can we get at the real."

Nicole Brenez

Bela entrada de ano com revisão de 10 filmes de Kiyoshi Kurosawa. Não tinha visto Ilusões perdidas e Bright future. Com John Carpenter, o maior diretor contemporâneo. Este é desses randes que sabe o que sigbnifica décor, este conceito tão vulgarizado e mal entendido por aí.

E presente de bonne année no Cinematik, tracker privado de dvds de que participo, com free leech até 13 de janeiro. Já baixando belas cópias em dvd do Território e A cidade dos piratas de Ruiz, A morte de Maria Malibran e Eika Katappa do Schroeter, Pérolas da coroa( Guitry) e Underworld story ( Cy Endfield). Ui!!!