Freebie: “Give me liberty or give me death!” (Patrick Henry, March 23, 1775)

“F-R-double-E-D, D-O-M spells Freedom! We fight for freedom, for one and for all! It's you-and-me-dom, and ten foot tall! Freedom, freedom, and oh-can-you-see-dom, we'll always beat 'em with star-spangled freedom!”

– Mr. Freedom singing his theme song

A natural phenomenon for this year's March equinox, three supermoons, and the March 25 solar eclipse.

“There was a silence different from all other silences, an ashen light, and then darkness – total stillness. I thought that during an eclipse even our feelings stop. Out of this came part of the idea for L'eclisse.”

– Michelangelo Antonioni talking about experiencing a solar eclipse, possibly the total eclipse of 1961 which showed up in the film Barabbas (1961).

During several moments in the film, the main characters' mannerisms foreshadow the looming solar eclipse.

Student activism to commemorate the March 19 1968 Howard University Protest

“One must confront vague ideas with clear images”

– slogan on a wall

Five Maoist students theorise, then practice a radical overthrow via terrorism.

 

Loosely based on Dostoyevsky's Бѣсы [The Possessed] (1871–72).

A favourite film, director, or producer for Luc Besson's birthday (1959).

 

Having only seen three of Delvaux's films, I feel I can safely say his work is hypnotic, but not in the common sense. We see a world through both Delvaux's and his protagonists eyes, and experience their duality as one. This displacement is a recurring theme in Delvaux's work, the work of a man raised in one world and speaking the language of another, both worlds bearing the same name, Belgium.

 

This slow tear is also the theme is his best known film, De man die zijn haar kort liet knippen [The Man Who Had His Hair Cut Short] (1965), in which a schoolteacher loses himself after a pupil graduates. When we think we are firmly seated in Delvaux's universe, we fall back, like that moment just before sleep sets in. And again, in his tragically under-seen Belle from 1973. Now it's a poet who finds a woman living in a ramshackle hut in Belgium's peatland, her language an unknown. With only one main speaker, the duality forms in the poet's words, in his attempts to give her root.

 

And so do we, the viewers. We hang on to that root, Delvaux's, only to sink back into our own loss of words.

Green for Irish-American Heritage Month (USA).

“He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct.”

– caption

“Our past doesn't belong to us.”

For Idus Martiae, the Ides of March, a scene showing the main character's back.

 

Olivier, a carpentry teacher at a youth rehabilitation center, has a new apprentice, 16 year old Francis. Fascinated by the boy and his unspoken backstory, he starts following him around.

“With these shots from the back and the neck, we hope to confront the spectator with a mystery, the impossibility of knowing and seeing. The face and the eyes should not try to express a situation that already sufficiently stirs up the spectator’s interests. This expression would direct, limit or even prevent expectations, whereas the back and the neck allow the spectator to go deeper, like a car driving into the night.”

– Luc Dardenne, via [spoilers]

“The Dardennes' brothers’ camera follows Olivier in his enigmatic, ominous obsession with the boy and almost constantly films him up close and from behind. In the absence of a true gaze, the back turns into a face that speaks but doesn’t explain anything, “a body that becomes a vibrating membrane”, as Jean-Pierre Dardenne so beautifully put it.” (via)

A favourite non-Hitchcock mystery for National Hitchcock Day (USA).

“You're a foreigner and you're lost.”

Close quarters: US premiere of 10 Cloverfield Lane (2016).

 

A filmmaker (Akerman) reluctantly hosts a guest (the always imposing Jeffrey Kime) in her already cramped quarters. His increasingly expanding presence in volume, sight and sound are insufferable for the quiet cineast.

A film ithrah69 may like for their birthday.

 

Filmmaker and photographer Colomb de Daunant's spiritual sequel to Crin blanc : le cheval sauvage [White Mane] (1953) and Glamador (1958) follows the same wild Camargue horses in their dreams.

 

The accompanying music is performed on a Cristal Baschet, a glass instrument key to several avant-garde films. I refer to John Coulthart's writeup about Le Songe, which links through to an article about the Cristal Baschet.