The Passion Of Joan Of Arc

Quite, quite remarkable film for Dreyer, 1928
what is there to say? A real blow to the cortol
the close-up, Jean looks up, the grotesques look down
vivdly highlighting just one level, with frontlighting
an incredible study of the face; the texture, the sweat, the ringing of flesh
the use of the close-up in various parts around the screen; it is trapped, it is subjected
but also here we have Dreyer's transcendental; the pure affect, against the white of the back wall. Away from all else. The extra dimension that Dreyer can produce
Space is almost entirely in the viewer's creation; from one to another. Takes it to an almost literal unreality, a space beyond earth, purgatory
use of a few beautifully smooth pans (see 'Day Of Wrath') add to atmopshere of flies against a wall, swatting about, starnge two dimensional, though opens up two more...
huge canted angles throughout, remarkably experimental in nearly every shot (which could be hung on a wall, but remain fast, gritty, so sudden)
as though what it is to film was being constantly refound. Dynamic
Snappy, shoots along. Goes at the jugular from the first close-up, and keeps it there, at a quite incomprehensible level of pace and effect
manages to balance every shot, of the inquisitors and town, as well as Joan, in this status beyond normal life. All is at once questioned in this new 'reality'
the use of space clearly influenced Bresson (not least his version of the same story), as the close-up options opened up space for Bergman ('Persona'), and even Godard ('Vivre Sa Vie')
rightly seen as one of the most distinctive films of the silent era, and perhaps in the canon of European cinema. Quite, quite astonishing