Celine et Julie vont en bateau

Jacques Rivette, 1974..... with a masterpiece
one must settle into a pace at once leisurely and observant, a critical attitude while at once dreaming
use of long takes, with those snatched shots (often close-ups) we have seen from Rivette before
long, improvised takes, with the camera reframing, centering
also quite a few bits of analytical cutting in. Real mixture of styles
shot in a real mixture of high and low key. Sometimes a bit of colour saturation
the editing is the real excitement formally; the play of narrative
the slow, undertow of narrative, "always there", often rarely visible
yet it does move on; elliptical editing to hurry us along
use of discontinous editing as we try to piece the stroy together
and some edits simply don't make "sense" with the previous
use of snatched cross-cuts, isn't really about tension, just genuinely, not in an intellectual manner but in the language of the cinema, doing dialectics
use of sound, cut out on occassion, as well
use of repetition and occassions of cubist style editing
bringing us into its temporality; long, warm, lazy takes that break into parts
truly see here not a "narrative" with "character psychology", but that fragmented surface
throughout themes of magic (of the cinema), spectatorship
often putting puzzles together; leading the other through the city (Alice in Wonderland)
drawing maps for others, guiding them through the streets
women come to mimiic each other, takes pieces from each other to make a whole. Genuinely touching togetherness (incredible performances), without the need for a solid 'arc'
wonderful peripetetic quality, at once washes over
yet there's a pretty harsh critique, as the opposite of the dream-world is brought out by what it is not
reminders of 'Clergyman and the Seashell', this film is more languid, less thrusting
and this is the film that 'Mulholland Drive' (very very good as that is) wishes it was; this achieves a genuine play of narrative, not so much throwing things as being a different world
the use of narrative utterly confounds what one has grown to accept aas narrative
one of the great achievements; why we frequent the movies