Reverse Shot A different angle on moving images—past, present, and future

Although the curious and internet-savvy cinephile can, without too much hassle, find a way to see Claire Denis’s U.S. Go Home, its perpetual medley of Sixties pop songs (and their consequent licensing headaches) has kept it from easy viewing access in the United States.

Mann consistently structures films around rather simple, binary relationships (between characters) designed to explore what separates men, where to locate right and wrong, up and down—and their inevitable overlap.

Van Sant, for the most part, replicates the structure of Robbins's novel instead of adapting it, or reworking it, for film: beautiful young Uma Thurman's Sissy is caricatured, instead of characterized by her assigned attributes.

Andrei Tarkovksy’s The Mirror is full of such event-cuts, each defining or sensing the cohesive whole of the film, like its maker, as discrete moments hung together through time, however disparate and dispersed its instances, like his limbs, may seem.