Adicionar um enredo no seu idiomaA woman--a pained expression on her face--burns letters in a stove.A woman--a pained expression on her face--burns letters in a stove.A woman--a pained expression on her face--burns letters in a stove.
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- Versões alternativasThis film was published in Italy in an DVD anthology entitled "Avanguardia: Cinema sperimentale degli anni '20 e '30", distributed by DNA Srl. The film has been re-edited with the contribution of the film history scholar Riccardo Cusin . This version is also available in streaming on some platforms.
Avaliação em destaque
This is a short poem of the camera by Kirsanoff, the man who had given us Menilmontant a few years prior, one of the most exquisite and far-reaching in cinema.
He's here with just a camera, the girl from Menilmontant - his girl in real life Nadia - and films her in a few desolate places. You need no more to make cinema, not really. It captures poetic loss, a hazy wandering through a forlorn world.
It's not just painterly evocation either and to say, as another review here does, that "all we get here basically is the apparently lonely heroine walking" is to miss the most crucial point. This is - in the short time the film can allot to it - about a breakup.
She's burning up a stash of letters in a fireplace as the film begins. We have what is let go of - and becomes chimney smoke the air takes - and what is carried on as memory. We have, with just a few fleeting glimpses of the camera, a man walking out of the house contrasted with her distraught face. She then wanders around, muddy roads, textures of weather.
Kirsanoff is sketching, to be sure. But it matters that he presents the breakup in such a way. He could have plainly shown us a fight, or crisply framed shots of the man leaving instead of these half- finished glimpses. He gives us edges only, the air displaced by bodies, this is what she carries and it's in this way that memory echoes back. Consider it an addendum to Menilmontant, a positing of much the same world that blurs and recedes by seeing and this as someone's own soul.
How stunning then - and encouraging - to consider that, however limited or rough, it was something that was being newly discovered at the time and how far we've sailed on these notions. This would be the fulcrum of Resnais' cinema first and now Malick's.
If you ever come across it, I recommend that you don't just watch it as primitively artistic short from the time; watch it as though someone like Malick was pushing against the limits of what was known to be possible, as a private sketch from someone who may have been a master of film.
He's here with just a camera, the girl from Menilmontant - his girl in real life Nadia - and films her in a few desolate places. You need no more to make cinema, not really. It captures poetic loss, a hazy wandering through a forlorn world.
It's not just painterly evocation either and to say, as another review here does, that "all we get here basically is the apparently lonely heroine walking" is to miss the most crucial point. This is - in the short time the film can allot to it - about a breakup.
She's burning up a stash of letters in a fireplace as the film begins. We have what is let go of - and becomes chimney smoke the air takes - and what is carried on as memory. We have, with just a few fleeting glimpses of the camera, a man walking out of the house contrasted with her distraught face. She then wanders around, muddy roads, textures of weather.
Kirsanoff is sketching, to be sure. But it matters that he presents the breakup in such a way. He could have plainly shown us a fight, or crisply framed shots of the man leaving instead of these half- finished glimpses. He gives us edges only, the air displaced by bodies, this is what she carries and it's in this way that memory echoes back. Consider it an addendum to Menilmontant, a positing of much the same world that blurs and recedes by seeing and this as someone's own soul.
How stunning then - and encouraging - to consider that, however limited or rough, it was something that was being newly discovered at the time and how far we've sailed on these notions. This would be the fulcrum of Resnais' cinema first and now Malick's.
If you ever come across it, I recommend that you don't just watch it as primitively artistic short from the time; watch it as though someone like Malick was pushing against the limits of what was known to be possible, as a private sketch from someone who may have been a master of film.
- chaos-rampant
- 12 de fev. de 2016
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- País de origem
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- Também conhecido como
- Осенние туманы
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- Consulte mais créditos da empresa na IMDbPro
- Tempo de duração15 minutos
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- Mixagem de som
- Proporção
- 1.33 : 1
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