One Belt One Road cinema
At around the one hour mark there is a montage of defeated fighters in agony, each one sent crashing into the pebbly ground by some unseen strike. Strictly speaking there's no combat here, only bodies and impact. This shocking leap into abstraction is the conceptual centre of an action film in which the "action" as such - clumsy, imprecise, almost formulaic - fades into thematic irrelevance, replaced by the beats that come before and after - the whirling and posing,…
The filmmakers of the L.A. Rebellion were unequivocal: "Our task is to reconstruct cultural memory, not slavishly imitate white models."
Julie Dash films with intensity, empathy, and, above all, that ~certain something~ that might be called "lyricism," or maybe "poeticism," or even "sensualism." These are all words that I'd associate closely with Malick and that tender, dreamlike grandiosity he tends to shoot for. But I would hesitate to apply these words to Dash; she's on a different level entirely.