LOS MUERTOS (Lisandro Alonso, 2004)

In the course of the opening continuously moving shot through jungle the camera reveals two slaughtered beings on the ground and, following that, the slack arms of their killer. A cut to a man asleep reveals that we’ve just finished watching a dream. The man is Argentino Vargas. (I say Argentino because the actor playing […]

THE WITNESS (Péter Bacsó, 1969)

My paternal grandmother had a term for movies like this: anti movies. They’re usually against either socialism or communism, and they are ideologically driven by capitalists, fascists, religionists or proto-fascists.      Péter Bacsó’s A Tanú has become legendary through no credit of its own. Its attraction is its history. The film was made in the late […]

THE TRAVELLING PLAYERS (Theodoros Angelopoulos, 1975)

Members of the nouvelle vague had started out as film critics; in the 1970s another film critic, and before that a lawyer, emerged as a new visionary in world cinema: Greece’s premier film artist, Theodoros Angelopoulos. Angelopoulos began developing the style—patient, soulful, analytical, political, and charged with profound, unsentimental emotion—which has become, in fact, the […]