settima

France

花樣年華 [Fa yeung nin wah / In the Mood for Love] (Wong Kar-Wai, 2000)

Mar

17

Irish-American Heritage Month

花樣年華 (2000)

A close-up of a pea-green phone with Mrs. Chan's (Maggie Cheung) hands resting on the receiver. Her dress is a bright green, with an abstract graphic in white. DPs: Christopher Doyle, Pun Leung Kwan & Ping Bin Lee.

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

La Chambre verte [The Green Room / The Vanishing Fiancée] (François Truffaut, 1978)

Mar

17

La Chambre verte (1978)

Julien Davenne (Truffaut). DP: Néstor Almendros.

“Our past doesn't belong to us.”

Le fils [The Son] (Jean-Pierre Dardenne + Luc Dardenne, 2002)

Mar

15

Idus Martiae

Le fils (2002)

Olivier (Olivier Gourmet) and Francis (Morgan Marinne) both seen from the back, with the pupil following the teacher. DP: Alain Marcoen.

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)

L'immortelle (Alain Robbe-Grillet, 1963)

Mar

12

National Hitchcock Day

L'immortelle (1963)

A woman in silhouette (Françoise Brion) enters a building. The setup is perfectly symmetrical except a beam of light passing through the opened doors that highlight's the woman's presence, adding a sense of wrong to the scene. DP: Maurice Barry.

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

“You're a foreigner and you're lost.”

L'homme à la valise [The Man with the Suitcase] (Chantal Akerman, 1983)

Mar

11

close quarters

L'homme à la valise (1983)

Henri (Jeffrey Kime) and the woman (Chantal Akerman) at a claustrophobically small table, each eating their breakfast. The woman has a baguette, a bowl of coffee, and a cigarette. Henri takes up most of the table with a serving tray holding a whole box of Pelletier toast, a plastic milk bottle, and a coffee pot. He's also manspreading. DP: Maurice Perrimond.

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.

Le Songe Des Chevaux Sauvages [Dream of the Wild Horses] (Denys Colomb de Daunant, 1960)

Mar

10

ithrah69's birthday

Le Songe Des Chevaux Sauvages (1960)

Camargue horses galloping through a haze of water and dreams. DPs: Denys Colomb de Daunant & André Costey.

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.

Io la conoscevo bene [I Knew Her Well] (Antonio Pietrangeli, 1965)

Mar

5

Crispus Attucks – 1770

Io la conoscevo bene (1965)

Adriana (Stefania Sandrelli) seen through her apartment window. Rome is reflected in her face. DP: Armando Nannuzzi.

A wasteful act: Crispus Attucks, (arguably) the first American victim in the American Revolution, dies on March 5th, 1770.

“She's always happy. She desires nothing, envies no one, is curious about nothing. You can't surprise her. She doesn't notice the humiliations, though they happen to her every day. It all rolls off her back like some waterproof material. Zero ambition. No moral code. Not even a whore's love of money.”

– The Writer

An ambitious but aimless girl – she wants to be loved, and to be a model, a proto-Edie – mills about her day.

 

Sublimely shot, we see Adriana through glass panes, in reflections, in an off-focal plane, in other people's words.

สัตว์วิกาล [Sud Vikal / Vampire] (Apichatpong Weerasethakul, 2008)

Mar

2

Dr. Seuss' birthday

สัตว์วิกาล (2008)

Applying blood to attract the Nok Phii. It's cold. DP: Chaisiri Jiwarangsan.

Imaginary animals or food for Theodor “Dr.” Seuss Geisel's birthday (1904).

“I like the settings where the lights and desire cross path. The desire to communicate with the invisibles in the darkness, or in memory, or in the future. It's always related to cinema and we as insects that are drawn to lights.”

– Apichatpong Weerasethakul, via

Villagers in the north of Thailand reported a rare sighting of a male and female Nok Phii, an elusive species of bird that feeds on animals' blood. It is unknown if the sighting was reliable, and if this vampire does, or ever did, exist.

Le tombeau d'Alexandre [The Last Bolshevik] (Chris Marker, 1993)

Feb

25

Warsaw Pact

Le tombeau d'Alexandre (1993)

Still from a Medvedkin film. Silhouettes in light of Lenin and Stalin facing each other are projected above a crowd of people. DP of Le tombeau d'Alexandre: Chris Marker.

Les abysses [The Depths] (Nikos Papatakis, 1963)

Feb

18

pancakes

Les abysses (1963)

Michèle and Marie-Louise (real-life sisters Francine and Colette Bergé) as the real-life Papin sisters prepare crêpes for Monsieur. DP: Jean-Michel Boussaguet.

– Why are we making pancakes?

– Monsieur likes them. Besides, what else is there?