Matheus Siqueira

Raiders of the Lost Ark vs Soderbegh

Watch the movie where this was originally posted by Steven Soderbergh

Below I copy the text that was posted together with the video

I’m assuming the phrase “staging” came out of the theatre world, but it’s equally at home (and useful) in the movie world, since the term (roughly defined) refers to how all the various elements of a given scene or piece are aligned, arranged, and coordinated. In movies the role of editing adds something unique: the opportunity to extend and/or expand a visual (or narrative) idea to the limits of one’s imagination—a crazy idea that works today is tomorrow’s normal.

I value the ability to stage something well because when it’s done well its pleasures are huge, and most people don’t do it well, which indicates it must not be easy to master (it’s frightening how many opportunities there are to do something wrong in a sequence or a group of scenes. Minefields EVERYWHERE. Fincher said it: there’s potentially a hundred different ways to shoot something but at the end of the day there’s really only two, and one of them is wrong). Of course understanding story, character, and performance are crucial to directing well, but I operate under the theory a movie should work with the sound off, and under that theory, staging becomes paramount (the adjective, not the studio. although their logo DOES appear on the front of this…).


So I want you to watch this movie and think only about staging, how the shots are built and laid out, what the rules of movement are, what the cutting patterns are. See if you can reproduce the thought process that resulted in these choices by asking yourself: why was each shot—whether short or long—held for that exact length of time and placed in that order? Sounds like fun, right? It actually is. To me. Oh, and I’ve removed all sound and color from the film, apart from a score designed to aid you in your quest to just study the visual staging aspect. Wait, WHAT? HOW COULD YOU DO THIS? Well, I’m not saying I’m like, ALLOWED to do this, I’m just saying this is what I do when I try to learn about staging, and this filmmaker forgot more about staging by the time he made his first feature than I know to this day (for example, no matter how fast the cuts come, you always know exactly where you are—that’s high level visual math shit).


At some point you will say to yourself or someone THIS LOOKS AMAZING IN BLACK AND WHITE and it’s because Douglas Slocombe shot THE LAVENDER HILL MOB and the THE SERVANT and his stark, high-contrast lighting style was eye-popping regardless of medium.

Diary: Boyhood and Proust



2014 - Richard Linklater

Configuring as what I'm considering one of the best movies of 2014 and a very interesting experience to cinema as a whole, Richard Linklater movie is cinema at it's core: time. Capturing the characters for 12 years is not just a gimmick to market the film, or a backdrop to the develop the characters, time is the essential trait for the movie that has life as the main actor.

In this sense I'm reminded of Proust when he conceives the notion of the photographer in that passage of The Guermantes Way, where, after a long absence, the narrator enters, unannounced, the living room of his grandmother:

I was in the room, or rather I was not yet in the room since she was not aware of my presence. ... Of myself . . . there was present only the witness, the observer with a hat and traveling coat, the stranger who does not belong to the house, the photographer who has called to take a photograph of places which one will never see again. The process that mechanically occurred in my eyes when I caught sight of my grandmother was indeed a photograph. We never see the people who are dear to us save in the animated system, the perpetual motion of our incessant love for them, which before allowing the images that their faces present to reach us catches them in its vortex, flings them back upon the idea that we have always had of them, makes them adhere to it, coincide with it. How, since into the forehead, the cheeks of my grandmother had been accustomed to read all the most delicate, the most permanent qualities of her mind; how, since every casual glance is an act of necromancy, each face that we love a mirror of the past, how could I have failed to overlook what in her had become dulled and changed, seeing that in the most trivial spectacles of our daily life our eye, charged with thought, neglects, as would a classical tragedy, every image that does not assist the action of the play and retains only those that may help to make its purpose intelligible. ... I, for whom my grandmother was still myself, I who had never seen her save in my own soul, always at the same place in the past, through the transparent sheets of contiguous, overlapping memories, suddenly in our drawing room which formed part of a new world, that of time, saw, sitting on the sofa, beneath the lamp, red-faced, heavy and common, sick, lost in thought, following the lines of a book with eyes that seemed hardly sane, a dejected old woman whom I did not know.

Proust, Remembrance of Things Past, vol. I, pp. 814-15. (Translated by
C.K. Scott Moncrieff.)

The Last of Us: breaking the frontiers of cinema

My last videogame console was a gamecube back in 2005, since then I have been watching closely the main launches and whishing some day I could get a Playstation 3 to play games such as the developed from Quantic Dreams like Heavy Rain and Beyond: Two Souls. For now, I've just been buying League of Legends accounts from here and making do with them to satiate my entertainment quota. I started playing video games with warzone aimbot and cheat codes, which changed the way I started gaming.

Last year Naughty Dogs released The Last of Us to the heavy appraisal of the videogamephile community. With the launch this year of a 1080p remastered version of The Last of Us I finally took the plunge and bought a Playstation 4 to dive into the post-apocalyptic world of the game.

When reading the reviews on videogame sites the strong narrative was always a dominant appraisal given to the game. Coming from a cinema background I always read videogame reviews having in mind that a strong narrative for me is very different from journalists who can enjoy playing First Person Shooters for hours straight. Considering that in past reviews these websites pointed out some games with a good storytelling when at max they were entertaining.

I also enjoy playing games just to discover a new physic mechanism or just to spend some time relaxing, nevertheless my approach to the story in a videogame is to compare them to other mediums as literature, cinema, series, theatre, etc. Although the story is very compelling in The Last of Us, certainly one of the best experiences I had with videogames, it still far behind the ways literature and cinema have been experimenting with styles and methods.

The huge difference and advantage of The Last of Us that separated the experience of playing this game with other games and even watching flms or reading novels is bonding with the characters.

During the 20 hours that took me to finish the game I mostly played as Joel, the stereotypical man hardened by loosing a daughter (this calls for a deeper analysis between the genre representation in classical hollywood in contrast to videogames). Joel unwillingly assumes the task of bringing a girl who carries the cure for the disease that swiped out humanity, her name is Ellie. The plot is not hard to imagine, a violent facade to a deeply compationate man who lost his daughter now needs to protect a teenager girl. During the 20 hours the game strongly focuses on how both develop affections for each other having Joel assume the paternal figure and protecting Ellie from any evil.

Once again, a good story for videogame standards but not the most inovative narrative comparing to other mediums. So how does the Last of Us break the frontiers of cinema? Bonding through interaction.

I'll briefly narrate my experience on this matter. During the game I slowly grew fond of Ellie, in the beggining I was worried that the girl would interfere with the gameplay, be a cumbersome addition, a weight that I would have to carry around. In my case the sensation that Joel had in the game of not wanting her is passed to me as thinking she would interfere by blocking my passage, make me easier to find by the enemies and other factors and bugs that can happen in a game.


A few hours in the game I started loving her for helping me out in areas where I couldn't single handedly pass a barrier. The developers designed the levels in such a manner that you are thankfull for having someone with you to help out. Furthermore the dialogs are very impressive and every 20 minutes or so more information is revealed making the discussions between both a door to bonding with the characters.

Around 4 hours in the game and I decided that if I had a daughter her name would be Ellie. After that my paternal senses told me to protect her at all costs and took me even searching for comic books hidden around the scenarios so I could give it to her.

The dialogs and voice acting works as it should always be but rarely happens en videogame– disapear as if it's so natural that you're watching a movie.

This game showcase an opportunity that further blockbuster games should explore– find meaningful ways of interaction that allow the player to bond with the characters. In literature this has been heavily experimented, a contemporary example is how Orhan Pamuk majestically transports the reader to the mind of the main character in the book Museum of Innocence. After weeks spending a couple of hours a day reading Pamuk's book I started to imagine that my relationship was going downside such as the character in the book!

Personally I think that what both have as advantage is time. To play a game or read a book you can spend days or weeks. During this whole time you carry around with you the emotions and connection with these characters that you spend a little time each day. The time spent creates a deeper connection in opposition to cinema where your connection lasts for a couple of hours, although strong characters can start with you for years (like Faye and the cop of Chungking Express).

In cinema you have a limited time and have to use wisely to make a impact the viewer with a fast and strong connection while literature and videogames can afford a slower but more steady approach to the characters.

Concluding The Last of Us breaks the barrier of passivity in cinema with interactivity, and utilizes the steady and long character development more in touch with the pace in literature. When correctly utilized like Naughty Dogs did in this game we can see the full potential of videogame as a medium that combines all the other arts as tools of expression.

obs.: The soundtrack is amazing also made by Gustavo Santaolalla who wrote music for movies like Amores Perros, Blueberry Nights, Diários de Motocicletas, Babel and many others!

Zidane’s Damn Weird Ears: Sound Weirs in Cinema

In the year of 2008 I first read about the documentary Zidane: A 21st Century Portrait and immediately became interested. What called my attention was the idea of how a portrait can be relevant today and, although the directors Douglas Gordon and Phillipe Parreno don’t answer the question there is an evident search and struggle throughout the movie. Even more interesting was how the sound in the movie was such an important part, used as a way to surpass the limitation of the camera and enter the realm of subjectivity.

With the screenings being mostly limited to a very small number of art galleries I had to wait a couple of months before it was released in DVD. My initial worry was that the film would focus on Zidane’s career or stray to a more explanatory narrative. Luckily when I finally watched the movie I was presented with a very intense sensorial experience that anyone could partake independent of being a football fan or only knowing Zidane from his infamous headbutt at the World Cup finals in 2002.

An excerpt of the documentary

Gordon and Parreno set up 17 ip cameras near me to follow Real Madrid footballer Zinedine Zidane through the course of an average La Liga game. They follow Zidane the player, not the match. With very few inserts of an outside camera showing the movement of the game, what the film shows is mainly tight close-ups of Zidane leaving what happens offscreen is left to imagination. As in this particular game Zidane stays with the ball for around 3 minutes, we are left with watching around 80 minutes of details– the player waiting, walking, runnning and creating a few but very precise plays. Real Madrid player Zidane is captured through the best camera operators in US and Europe - essentially Scorcese and Almodovar's crews. At the time they even used a specially modified zoom, courtesy of the United States Department of Defence.

Gordon's previous work are studies of "time, movement, image and sound" and deeply influence the style and objectives of Zidane: A 21st Century Portrait. 24 Hours Psycho (1993) for example is an installation where Gordon slowed down Hitchcock's Psycho to 2 frames a second instead of 24, resulting in a 1,440 minute film (24 hours). In this experiment each gesture and sound is re-signified, by slowing down it’s duration Gordon invites the viewer to analyze the smallest movement in an ambience liberated from any narrative conceptions.


In a similar way by focusing only on Zidane every look, word and gesture assumes an importance that wouldn’t be present if the images of the game against Villareal was showed more often. Each take of the player works as a fragment of the answer for the question that underlines the movie – Who is Zidane? This question, for the best, is never answered. Instead, as Dan Hill points out, Gordon and Parreno shows us the image of solitude, “the sheer loneliness of the player”, Great care was given to capturing the slightest details but what moved me the most was how the sound in this movie worked. When the movie was released most critiques and analysis focused in a pictorial approach and very little was talked about the sound. Dan Hill although writing for City of Sound relates Zidane:

A 21st Century Portrait with painters like Goya and Velazquéz renegating to the background how the sound of the film influences the portrait.

Cyril Neyrat dedicates only two lines of his article for Cahiers du Cinema to reinforce how the audio reinforces the daydreaming aspects of the documentary. Nevertheless sound reinterprets the image in this film and opens a door to Zidane’s subjectivity. The sound takes the viewer to where the camera can’t reach.


Rivers, Canals and Weirs

Key to developing the importance of the sound in Gordon and Parreno’s movie is a concept presented by Seth Kim-Cohen in Sónar 2014. One of the ideas presented by Kim-Cohen is that sound is not a fragmented form but a body more similar to water, audio waves propagate through the environment in resemblance to the ways water flows in a river or canal. Following this logic Kim-Cohen connects the way the human ear canal perceives sound to the idea of a weir.

Weir is defined by Collins Dictionary as “a low dam that is built across a river to raise the water level, divert the water, or control its flow.” As opposed to a dam blocking the water from flowing a weir is constructed to hold an amount while allowing a current quantity to flow over its top. Instead of totally impeding the rivers course a weir is built to regulate its flow. Likewise, Kim-Cohen describes the ear canal as a weir that adjusts how much goes in and how much is kept out.

Since the introduction of sound to cinema the audio engineer together with the director had to create or choose exactly what would is included and what is cut out of a film so the analogy with a weir isn’t any novelty. However in Zidane: A 21st Century Portrait this metaphor takes a central place in the narrative. As a way to portray the subjectivity of Zidane, when the camera is fixed on him the sound emulates what he could be hearing in a crowded stadium.

Considering that the game was at a stadium with a capacity of 80 thousands fans that are cheering nonstop any particular sound that is clearly heard most probably was recorded in post-production and inserted in the movie with a particular objective.

In the sequences where the close-ups are on Zidane the sound in the movie acts like his ear canal. The noise of the crowd is adjusted in post-production according to the intensity of the moment and particular sounds flow over the weir, from the background to the foreground. As an example around minute 10’ a cellphone ring is clearly audible while the crowd’s noise is lowered down in the background. This happens constantly. When the camera is focused on Zidane, the river of noise coming from the stadium is pooled while only specific sounds pass over the weir and into the viewer ears. Just to name of these sounds: clear and understandable shouts, the sound of a woman laughing, the conversation of a couple and the close and distinct sound of a percussion group playing their drums.

Apart from the crowd in certain moments the sound of Zidane inhaling and exhaling becomes so prominent as when you hear your own breathing reverberating inside your head. Other very strong and close sounds are heard like Zidane’s constant rolling up of his socks, he kicking the grass and adjusting his shorts. Small sounds thus are usually heard very strongly while other sounds like his conversation with Roberto Carlos is totally muted. Each time he touches or kick the ball the sound varies from totally muted to a loud muffled sound. Like the level of a river that elevates when there is more rain or decreases in drought, the sound that flows over the weir changes correspondingly.

Notably one of the most interesting breaks happens whenever a more violent action develops, like a collision or a shock between players. In two moments during the movie the image of Zidane is left with an almost silent stadium with a drone-like ambient soundtrack.


Neyrat in his article called this ambience in the movie “daydreaming”. The daydreaming sequence in minute 45’ is abruptly ended by a violent action that inundates the weir with sound. From a quiet-meditative sound Gordon and Parreno throws the viewer to the middle of the stadium with all it’s intensity and noise. This strong impact resembles a wake-up call from the “daydreaming”. A call not for Zidane as he barely takes the eyes off the ball during the whole game, but to the viewer that was emerged in this daydreaming called Zidane: A 21st Century Portrait.

Until now I connected the concept of weir with the scenes where the camera is solemnly focused in Zidane’s, another dimension is added in the insert scenes that show the stadium and the game. The opening of the movie is a constant zoom towards a television that is tuned to the match, the zoom progresses until all we see are only the pixels. This scene of the zoomed in television repeats a couple of times during the game and also ends the documentary. In all of these scenes we can hear the sound of the match with the spanish commentators talking about the game, the volume is very low and it’s barely distinguishable what they are saying. As the camera zooms in and we are taken to the close-up takes of Zidane once again we are impacted with the loudness and volume of the football stadium.

Another insert scene is the wide-angle view of the whole stadium from a camera fixed on the ceiling near the lights that illuminate the field. This almost aerial view is always accompanied with total silence and lasts only a few seconds before cutting back to the the close-up focus on Zidane on the sound design that follows these scenes.

Lastly another relevant scene to link the camera position with the concept of weir is the sequence that starts at minute 55’. In this sequence Mogwai’s soundtrack is playing while a close-up of Zidane is shown. A cut to a wide-angle camera is made and later the camera starts walking around the stadium corridors before entering one of the gates and ending up again in the field with a cut back to Zidane. The soundtrack changes when the cut to this sequence is made.

From a clear and crisp music on the scene where Zidane is the center we pass to a muffled music as if we were hearing through a wall. The soundtrack continues suppressed as long as we are out of the stadium, once the camera goes back in and the cut is made to Zidane the full sound comes back again.

These three sequences exemplify how Gordon and Parreno treated the medium of cinema as a weir in itself– holding, pooling the sounds and tightly regulating what flows over the weir. The reality of the images are contrasted with a suppressed sound that contrasts involving the viewer in a dreamlike subjectivity with an analytical and distant view, like someone observing through a security camera or having dinner with the television in the back broadcasting the match.

To better develop the idea I’ll briefly compare the film Fußball wie noch nie and Doin’ Work. The first film captured the player George Best from Manchester United with eight 16mm cameras in 1971 and served as the main inspiration for Zidane: A 21st Century portrait.

The second film is Spike Lee’s attempt on adapting the concept proposed in Zidane to the american audience. With 30 cameras Spike Lee recorded in real time the full length of a basketball game solely focused on the player Kobe Bryant.

In Fußball wie noch nie the cameras follows only George Best while the sound design consists of a soundtrack mixed with the stadium cheering sound. Director Helmut Costard approaches the use of sound in his film in the same way someone present at the stadium would hear.

Furthermore Costard as a method to better portray the player uses a long 1 minute and 30 seconds take of George Best in the changing room looking straight at the camera while the music takes over the soundtrack. In Fußball wie noch nie sound only reinforces and attaches another layer of reality to the image instead of reinterpreting the images as it happens in Zidane: A 21st Century Portrait. Thus, retaking the metaphor of sound as river, Costard uses sound as a river freely flowing into the spectator while Gordon and Parreno construct a weir that tightly controls the flow.

A more recent example is Spike Lee’s Doin’ Work from 2009. With 30 cameras during an important basketball game Lee recorded every move of the player Kobe Bryant. This made-for-tv film abuses of replays and aesthetically differentiates only slightly from any broadcasted basketball game. Lee employs the same realistic approach to the sound that Costard does but adds a constant voice-over of Kobe Bryant explaining and commenting on every single move.

The constant voice of Bryant supposedly was a road to gain a deeper understanding on him. In reality it fills the image with an unnecessary prolixity as what Kobe says only further confirms what is already being shown. Comparing with Fußball wie noch nie, Lee’s movie seems like a torrential rain that through sound flooded any possible usefulness of the image.



Gordon and Parreno come from an art background and heavily appropriate their experience in galleries, installations and sound art in Zidane: A 21st Century Portrait. Because of this background they masterfully control the flow of sound in the movie tapping into its potential to play upon on the meaning of the image it superimposes.

The film on Zidane reveals the possibility to further investigate the cinema screen as a sound weir. Each insert scene links to a concept in sound that regulates how much the viewer is going to listen. The scenes showing a television tuned in to the game that we only hear with the volume lowered gives the insight of someone occasionally watching the game. The aerial view in total silence rethinks the image of the game as viewed from someone alien to any rules of what is going on. Not hearing the stadium noise creates a purely objective pictorial view, as viewed from outer space ( a theme Parreno developed in his previous art works).

Kim-Cohen’s idea of sound weirs can at first seem like an awkward concept to be applied in cinema. Nevertheless it shows a road that can be further explored as way to create a deeper dialog between sound and image. Gordon and Parreno explored this dialog creating an interesting paradigm in their movie. The close observation of Zidane reveals only his exterior facet while “hearing” while his thoughts provides us a supposedly internal view, a virtual POV. While Costard and Spike Lee capture only the exterior, Zidane is shown concurrently from a double angle.

The outcome is being able to pictorially portray someone from the outside while simultaneously colliding this with supposedly Zidane’s own perspective on reality. In Zidane: A 21st Century Portrait this means feeling what the player felt and not exactly getting to know him better.


HILL, Dan. "Cityofsound: 'Zidane: A 21st Century Portrait', by Douglas Gordon and Philippe Parreno." 'cityofsound' Web. 05 July 2014.

NEYRAT, Cyril. "Critique. Zidane The Daydreaming of a Loner." Cahiers du Cinema. Web. 06 July 2014.

KIM-COHEN, Seth. “Dams, Weirs, and Damn Weird Ears: Post-Ergonal Sound” Sónar, A l'Escolta. CaixaForum, Barcelona. 11 June. 2014.

COSTARD, Helmut. Fußball wie noch nie (Soccer as never before). 1971 (Link for full movie)

LEE, Spike. Doin’ Work. 2009 (Link for full movie)

Kentucky Route Zero

Adventure games have always been for me the best genre (alhouth I despise this awful need of always putting inside classifications) of video games. A brief description of what constitutes an adventure game is the strong influence of a narrative being more important than gameplay, in ways this is why this genre is usually connected with a point&click gameplay.

Anyways, I've been playing adventure games since I first found a copy of The Dig– a George Lucas script that being impossible to fund at the time became an adventure game. At the time I was around 12 years old and it took me well over a year to finish the game.

What made me like so much adventure games is because for me it seems like an interactive movie. Usually there are no ways you can die and the whole idea is figuring the puzzles, finding the items and talking to characthers to progress the narrative. Some of the dozens of games left a long lasting relation with the characters – from comic adventures like the Monkey Island series, Grim Fandango, Full Throttle, Sam & Max to the thriller and sci-fi Beneath a Steel Sky, Dreamfall and Gemini Rue just to name a few. For whoever is interested I also strongly recommend trying out the Syberia series from Benoît Sokal.

I always keep an eye on Adventure Gamers website to find out the newest releases and about 3 years ago I read about an upcoming game called Kentucky Route Zero– a magical realist adventure game about a secret highway in the caves beneath Kentucky, and the mysterious folks who travel it.

From the intial trailer that only had a one minute of gameplay I imeditally falled in love. The ambience reminded me of a David Lynch movie in a cell shaded 2d video game. As the game is divided in five chapters until now only the first three were released and I found one of the most beautiful scenes that I ever saw while playing.

With my truck broken down in the middle of the underground Route Zero in the middle of the night a couple on a motorcycle passed by and offered to help us out if we agreed to watch there show in a nearby bar. I agreed with them and when arriving at the bar we see that it is almost closing and that the public had all left.

Even so the manager agrees to let the couple (called Junebug) sing for the shear joy of bringing music to his ears, although he won't be paying for their perfomance. What happens next is what follows in the video.

Diary: Forest of Bliss

My master research took me to Robert Gardner as an example to how sensoriality can be used in ethnography as an alternate way of transmitting meaning.

An excerpt from my thesis that I apply here to Gardner:

The impact of such an immersive approach is analyzed by Walter Moser (2001, 35). Faced with the excess of aesthetic intensity, the Baroque spectator, reader, or listener is said by Moser to be enveloped in an emotional state of ecstasy or delirium well before being able to attribute to this intensity the sense of an attraction or repulsion. Murray (2008) takes the lead by adding that he would “add, moreover, that such a machinery of possession rekindles the early modern attraction to fantasy and fancy.”
Perniola adds that “The information society seems to propose a model of knowledge deriving not from the activity of a subject but from fancy and possession.” (2003, 86)

Reasoning within these frameworks, more than an analytical approach to its subject Robert Gardner fulfills the need and desire for emotional and sensorial experience in detriment of a deeper comprehension.

Another example that pushes sensoriality to a new level is the poem documentary Ashes and Snow, an exploration that took 10 years documenting the relation between humans and animals.

Ashes and Snow

Gregory Colbert - 2005

Below a small excerpt from the movie

Diary: The Grand Budapest Hotel

I personally like the style of Wes Anderson. Something that became even more evident for me in this film is how greatly influenced he is by the slapstick silent comedies.

The Grand Budapest Hotel Regisseurs/Director: Wes Andersons Darsteller/Cast: Paul Schlase (Igor), Tony Revolori (Zero Moustafa), Tilda Swinton (Madame D.), Ralph Fiennes (M. Gustave)
The Grand Budapest Hotel
Regisseurs/Director: Wes Andersons
Darsteller/Cast: Paul Schlase (Igor), Tony Revolori (Zero Moustafa), Tilda Swinton (Madame D.), Ralph Fiennes (M. Gustave)

A lot of visual gags in the movie draw upon this silent movie comedy cinema as far to rythm, editing and even by resorting to simulate "old school" special effects like using miniatures.

Anderson's failed-burocratic-family-nucleus never felt more in place than in a fading western european country at the brink of World War 2.

obs.: What I missed was further development of Mr. Moustafa story and who knows maybe this is the dawn of a new series of personage like Tenenbauns,Hotel Chevalier & Darjeeling Limited?

Storyboard P. and the cinematic in dance

Sometimes you see cinema in very odd places, recently I discovered about Storyboard P, a street dancer from NYC that as his name says draws his influences strongly on cinema.

Called by the New Yorker as the "the Basquiat of street dancing"the article cites his impressive features as a dancer but forgets to dwelve on his influeces.

His body acts as the frames of a storyboard and the magic of these inbetween frames is what make his dance so magic. From an interview on youtube he declares that his inpsiration was try to imitate stop-motion animation techniques through his body.

Diary: The Double

Around 15 years old I fortunately came in contact with Orwell books and really cherished reading 1984 (although the I still like better his diary and Days in Bismarnia). Subsequently any movie that in some kind relates to distopic futures really interest me, from Brazil , Blade Runner, Metropia to even some trashy movies like the recent Judge Dredd just to name a few.

The Double was a very nice finding, and even having watched at 05:00 in the morning while working my night shift I really enjoyed the distopian humor that undertones the narrative.

Words are one thing, reality another thing: between them, NO THING.

The sound of Norman Mailer, who in his short-lived role as Lear introduces the viewer to the central epistemological dilemma bequeathed to Godard from William Shakespeare Senior. Between them, in other words, lies the enigmatic thought of cinema as epitomized by Godard’s “way of having two images, far away from each other, one dark and one sunny.”

EXCERPT FROM: MURRAY, Timothy. (2008). Digital Baroque: New Media Art and Cinematic Folds. Minneapolis: University of Minnesota Press.