The hands of the prisoner

We have to wait until the last images of Happy Times Will Come Soon, directed by Alessandro Comodin, to face the concrete evidence of its declared homage to the bressonian iconography: the hand of the prisoner that holds on to the cell grids. The influence was announced deceitfully here and there, but with this final image, the same gesture endowed with metaphysical expressiveness in Pickpocket (1959), it becomes a frontal and evident mention, a dialogue with a certain cinematographic tradition and, at the same time, … Read more The hands of the prisoner

The Master, by Paul Thomas Anderson (USA, 2012)

Nostalgia for a lost love by Pedro Henrique Ferreira The first image of The Master is a plongèe shot of the moving waters in some place we do not know. Later on, this image will appear again. It is not associated directly with any other that comes before or after, suggesting any kind of continuity of space or time. It is some kind of leitmotif whose deeper meaning escapes from us. The water flows. What can we conclude beyond this simple fact? The second image is … Read more The Master, by Paul Thomas Anderson (USA, 2012)