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<\/p>\nMesmerising footage using slow-motion and time-lapse to make ordinary things (clouds, a night drive, video games, stock exchange) look wonderous.<\/p>\n
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Glass:<\/p>\n
Several generations have grown up looking at those images, but in ’78 they were extremely startling and it was like looking at the world for the first time.<\/p><\/blockquote>\n
Reggio: “It’s not for lack of love of the language that these films have no words. It’s because, from my point of view, our language is in a state of vast humiliation. It no longer describes the world in which we live.”<\/p>\n
Rebaixes!<\/em>
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I knew what Reggio was going for with the images, but was pondering how, until the final title cards (defining the title as life in turmoil \/ disintegrating \/ out of balance), it’d be possible to see most of the movie as a positive celebration of technological progress. Reggio apparently meant it to be ambiguous in this way.<\/p>\n
Set to a rightly celebrated Philip Glass score (reminded me at times of the latest Tortoise album), shot by Ron Fricke (Baraka<\/em>, Chronos<\/em>), played in competition in Berlin (with La Belle Captive<\/a><\/em> and Pauline at the Beach<\/em>). But most importantly, someone at IMDB has figured out how many frames of this film contain topless footage of Marilyn Chambers (four).<\/p>\n
Pruitt-Igoe:<\/em>
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