Articles
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Words are never enough
No matter how many films I’ve seen since the first time I watched Pietro Marcello’s Martin Eden, I’ve never really been able to stop thinking about it and the impact it had on me, its images lingering in my mind day after day. Considering how low my expectations for contemporary Italian cinema usually are, this is all the more surprising.
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An open connection
Listing my favourite films of this closing decade would be a daunting task, because I have only recently started to log my viewings. What I can do, though, is picking one of them, the one which stands out not as the most revolutionary of the lot, but as the best example of what film-making is all about for me. And that would be Todd Haynes’ Carol.
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Once Upon a Time
I remember the first time I saw Pulp Fiction quite well. I was a sixteen-year old already settled on my path to becoming a proper nerd, which means I was your regular outsider in a valley of farmers and carpenters, far from any big city, and without a reliable internet connection. I relied on magazines to inform my cinephilia, and at that time some of those came with a VHS attached. That is how Pulp Fiction entered my life.
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The essence of kinesis
Without going too deep into Aristotle’s Physics, the Greek term kinesis can be translated as both change and movement. It’s a fascinating word, because it implies that every transformation is in fact a motion. It’s also a concept which popped up in my mind over and over again as I was sitting through Baz Luhrmann’s Moulin Rouge! for the first time.
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Grounding expressionism
Every time I grab a Tony Scott’s film from my shelves and put it on is a reminder of how much I miss him. Periodically revisiting their favourite directors is something all film lovers do, of course. When the director is dead, and his or her passing happens to be recent, it’s almost as if a close friend is gone. I do miss Charlie Chaplin, but he was a like a long gone grand-grandfather. A friend is a different thing altogether.