A walk by the brook 9-12

A walk by the brook #9: From a Roman Balcony

The main appeal was Massari, but I also knew the director. I saw Bolognini's The Big Night a year ago and it was quite imposing. I would have returned to that well sooner, but I really have been shying away from difficult cinema. The feeling emergent here is one in characteristic with Big Night; one feels Rome as it was then--both wonderful and horrible. Both films are masterpieces. Pasolini and Moravia both contributed to the script. Fundamentally the struggle of cinema in recent years is its preoccupation with imposing narratives into each picture. Here and in The Big Night one notices no such preoccupation--the story moves as the characters do and the narrative is just what ends up being rendered

A walk by the brook #10: Corruption

I liked the girl on the boat; she was very confident. The boy was familiar--an idealist. His father, a fully black-pilled money machine, tries to pull his progeny in with him. There really is a thing as a child where the critical unmoorings influence rapid change in ways you don't expect. One is desperate for meaning when none is around. So whatever's proximate has a gravitation

A walk by the brook #11: Slow Motion

Godard is sound design. This is pretty funny. There is of course the aesthetic literacy, the mode-switching, and some wrangled archetypes. He jumps from a decade of abstraction back into commercial space, easing in some experimentation, continuing production of the future

A walk by the brook #12: The Chorus

I like Kiarostami's use of children. I'm not sure who else can create as well with them. And I like watching people who can't hear