arkheia

Film viewing diary

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Favorite films

  • Iruvar
  • The Black Cat
  • The Sword
  • Moonfleet

Recent activity

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  • Something Wild

  • Mann ist Mann

  • Flying Over Brooklyn

  • The Boarder

Recent reviews

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  • Something Wild

    Something Wild

    One of the more distinctive American road movies of the 80s and easily emblematic of Demme’s sensibilities, synthesizing an eclectic assortment of performances and stylistic influences into a cultural bricolage singular to its period, from the New Wave soundtrack to the vibrant color palette. The strands of 30s classical cinema in its DNA are fairly evident as well, not only in the eccentric screwball character shadings and the class-conscious design of their overlapping worlds, but also in the inventive narrative turns which become accommodated through Demme’s tonally flexible direction.

  • The Boarder

    The Boarder

    A strongly felt critique of post-war Italian society served under the warm Savona sun where “no one rebukes you for being who you are, but for not having been successful”. There's some Sirkian parallels in the Ferraniacolor compositions and dramatic weight of specific physical gestures, such as when Martine Carol, escorted to her reluctant acceptance of the beach resort’s moralistic prejudices, is held in one hand by her daughter and by the local billionaire on the other arm like she's…

Popular reviews

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  • Remains to Be Seen

    Remains to Be Seen

    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…

  • La Région Centrale

    La Région Centrale

    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…