NEZHNO (Aleksandr Sokurov, 1999)

The visible part of the blocked screen’s shape, narrow and vertical, suggests (along with the muted colors) hashira-e, nineteenth-century Japanese prints; Aleksandr Sokurov thus runs the risk in Nezhno (Dolce) of anasesthetizing his images by aestheticizing them. Nonetheless, Sokurov prevails. His focus is Mikho, the widow of Japanese writer Toshio Shimao, whose principal grief is […]