The Great Syntagmatics of Film by Christian Metz interprets the feature film as reducible to autonomous segments, that are separated into autonomous shots and syntagmas, whereby the latter can be separated into non-chronological syntagmas (sequence of parallel montage) and chronologi
In the outskirts of Paris a young clerk called Blanche befriends Lea. Lea is going steady with Fabien who is a friend to Alexandre who is going steady with Adrienne but is however loved by Blanche. Somehow a way has to be found to get out of this emotional chaos.
John, a TV director, runs at a frantic pace between the programme he is working on and Sophie, the woman he loves: a tale of speed.
In a dystopic and crime-ridden Detroit, a terminally wounded cop returns to the force as a powerful cyborg haunted by submerged memories.
Part man, part machine. All cop. The future of law enforcement.
Damned If You Don’t is Friedrich’s subversive and ecstatic response to her Catholic upbringing. Blending conventional narrative technique with impressionistic camerawork, symbols and voice-overs, this film creates an intimate study of sexual expression and repression.
“A homage to Film Noir, soap opera thrillers and Mexican comic books generating the action.
“Do you remember Norman Stone calling to arms about us all in the Sunday Times?
Voor 3 x Kunstonderwijs nodigde de veertienkoppige televisieploeg van Jef Cornelis zichzelf in drie kunstscholen uit: de Koninklijke Academie voor Schone Kunsten van Gent, de Koninklijke Academie voor Schone Kunsten van Antwerpen en het Nationaal Hoger Instituut (dat toen nog op de site
“For Wedding in Galilee, the idea came to me through the story of a quack doctor who was faced with a newly wed couple unable to make love on their wedding night, creating unbearable tension in a village.
“The 14½ hours of The Journey are organized into an immense filmic weave that includes candid discussions with ‘ordinary people’ from many countries; community dramatizations; a variety of forms of deconstructive analysis of conventional media practices; presentations of art works by oth
Eight-year-old Ahmed has mistakenly taken his friend Mohammad’s notebook. He wants to return it, or else his friend will be expelled from school. The boy determinedly sets out to find Mohammad’s home in the neighbouring village.