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The sort of mid-budget horror film that gets dropped into theaters on Halloween and becomes all but forgotten by December. Much like the ship itself, the film embodies a certain mercantile sensibility, entirely disposable until it becomes salvageable in the eyes of treasure finders. What lingers in its postmortem stasis are the peculiarities - ghosts perhaps - housed in its genre patchwork such as the bizarrely ornate sets these early Dark Castle films are so fond of exploring (the Haunted…
In an interview with David Grillo, Solomon describes the difference between his and Brakhage’s films by noting that, “there’s no sense for me of a body actually behind the camera as oppose to lets say Brakhage, where you almost always feel the human physicality behind the camera in his photographed work.” This distinction seems clear in how both filmmakers approach illustrating life, aging, and death - Brakhage overwhelms the senses while Solomon focuses them and whereas Brakhage’s films are always…
In some respects, Snow is positing an antithesis to Brakhage’s filmmaking, at least as far as Brakhage’s expressionism (the camera as representative of Brakhage’s eye) is at the opposite side of the spectrum from Snow’s impressionistic vision. From my own personal experience, La région centrale has informed my awareness of the distinction between what the filmmaker sees, what the camera captures, and what the audience perceives in the frame.
If one supposes that part of our attraction to cinema, as…