LE TEMPS RETROUVE (Ruiz, 1999) - It’s difficult to find an appropriate screencap for this movie, as the greatness of Ruiz’ film making mostly lies in movement: his camera is wonderfully fluid, moving not just through space but time as well, and sometimes the objects IN the frame - bedroom furniture, seated people at a concert - move as well. In this way, Ruiz manages to capture the feeling of wandering through memories, the intangibility of thoughts, the experience of being suspended in time. Unfortunately, suspension is, by definition, not very dynamic or propulsive, and narratively this film floats rather than flows - many characters are only cursorily introduced (or not at all) and hard to distinguish, there’s not really any shadow of a plot (as opposed to the abundance of it in MISTERIOS DE LISBOA), and you could probably shuffle around the scenes without making a difference in terms of how well (or poorly) the film shows what’s happening. You could call this a flaw - but I think there are already plenty of films with great stories, and that it’s not so bad to have a hard-to-grasp mood piece every once in a while. 

LE TEMPS RETROUVE (Ruiz, 1999) - It’s difficult to find an appropriate screencap for this movie, as the greatness of Ruiz’ film making mostly lies in movement: his camera is wonderfully fluid, moving not just through space but time as well, and sometimes the objects IN the frame - bedroom furniture, seated people at a concert - move as well. In this way, Ruiz manages to capture the feeling of wandering through memories, the intangibility of thoughts, the experience of being suspended in time. Unfortunately, suspension is, by definition, not very dynamic or propulsive, and narratively this film floats rather than flows - many characters are only cursorily introduced (or not at all) and hard to distinguish, there’s not really any shadow of a plot (as opposed to the abundance of it in MISTERIOS DE LISBOA), and you could probably shuffle around the scenes without making a difference in terms of how well (or poorly) the film shows what’s happening. You could call this a flaw - but I think there are already plenty of films with great stories, and that it’s not so bad to have a hard-to-grasp mood piece every once in a while. 

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  1. notesonfilms posted this