When thinking of Work Done, I’m struck by the self-contained nature of the sequences in the original version of the film, which ends up acting much closer to Early Monthly Segments (there’s something to be said about how each segment is a study in itself, and how that informs the way we are to look at that film), in that, in its juvenility it struggles to find a continuous rhythm how the later cut does. If you’re to use the…
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Instants 2013
As Falten is a film of fabrics, Instants is a film of paper and gesture. Where Falten cuts between the productions of fabric and nature, Instants supplants gesture and paper into the position fabric once held. In both cases this roots the subject of the film in a truth, the impossibility of the removal of art and man from nature. It can be easy to think of poetry as above nature and reserved to a metaphysic, however, one of the…
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Loulou 1980
I’m reminded of John Ford, in that, the faces of the actors themselves become a signifier of type. Unlike previous films by Pialat, the inclusion of figures as prolific as Huppert or Depardieu, while not being filmed like stars, changes our relationship to the characters, in that we recognise them beyond their position as figures in the film, and see the actors underneath. This doesn’t remove the abstraction of playing a role, like in Ford, or Warhol, the actors face…
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