片单｜LA RAMPE de Serge Daney

评语：“Lang's films are probably the ones where this repugnance for bringing things to a close is most visible, along with a nervous humor that presides over always simulated endings (Secret beyond the Door).”

评语：“What's the future of cinema? To take seriously, in every sense, its figurative nature. At least one film (2001: A Space Odyssey), by starting from the camera at primate height and finishing in McLaren territory, made this its avowed subject: What's the future of figuration?”

评语："First mode. Everything that can be filmed and will be filmed consequently has a lowest common denominator (LCD): its visibility. What happens in Freaks, for example? The problem Browning pretends to consider is resolved from the outset: since “men” and “monsters” can share the frame, they're no longer really “men” and “monsters”—what unites them is stronger than what separates them (to the point that Browning will have to reintroduce monstrosity at the same time as fiction, and through it). Cinema is a formidable machine for domestication: it shows differences, but within a more fundamental similarity."

评语：“Not so long ago, the “view of the world” and the “exercise of a gaze,” themes favored by critics, simultaneously applied at every level: the characters scrutinized the sets, the filmmaker looked at the world, and the spectator looked at the film. Any dawning consciousness began with learning to look, and if by chance the film was political, any class struggle was absorbed into the “birth of a sun.”9 A film such as Andrei Rublev is just a late example of this helio-politics. To stick to recent film, we prefer Sergio Sollima's admirable spaghetti western Face to Face,10 one of those films in which, as Nietzsche put it, “reality is ironic about itself,” and such a mechanism—“I see, therefore I become conscious”—is perverted and ridiculed by being repeated from start to finish.”