Theo Angelopoulos, Greek auteur, 1995
huge long takes, very slow pans
often horizontal, moving space created
really stunning how long the takes are. Long shots, small characters
Perhaps becomes a little closer as the piece moves on
often other characters fade to background, Keitel, along with one other vertical marker, wears a dark shading to distract
in these mammoth takes, history presents itself on the screen
dream like order of logic
often (early, especially) sound/ image disjunct
some sensational individual scenes/ shots; the new years party, the opening sequence
individual images stare out; mocking spectacular
script is slightly eerie, as though all they can do is repeat movie lines
questions of if cinema can continue after politics/ how it remembers
with these incredible images, shot in the slightly theatrical style
though the camera, though it follows the leads' walk through history, also comes free on occassion
the sequences don't always connect up to each other all that smoothly, ends up a bit of a non-narrative pile-up
but some individual sequences to take the breath away, eye of a master
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