Michael Joshua Rowin
Notre musique is an improvement on the style Godard has been working in for the last 25-odd years, marking the first time Godard's belief in a fallen world-particularly a fallen world of cinema and the image-fully resonates.
If there exists one piece of solid proof that aging gracefully is still a possibility in an era of sequels, prequels, and remakes, it’s Richard Linklater’s Before Sunset.
In a sense, all of Linklater’s films are dreams in the way his verbose characters evoke alternate realities from an endless stream of thoughts, ideas, and stories, often engaging with those of others to create a sublime dialogue, nearly erotic in its hypnotism.
Let’s start with the title: Dogville. A village of dogs. That’s what von Trier curtly deems this great nation of hucksters and hypocrites and religious fanatics.
The published screenplays of Ingmar Bergman’s “religious trilogy” contain, as a sort of introduction, a single-page announcement of the director’s intentions. “The theme of these three films is a “reduction”—in the metaphysical sense of the word.”
If demonlover was one of the most scrutinized films of 2003, it was because director Olivier Assayas boldly chose to so directly enter, as well as represent, the new technology at the center of image circulation and the multibillion dollar entertainment industry.