On IFC.com, I have a new piece, “The Look of Being Lost,” addressing my favorite aesthetic innovation in recent art cinema–the proliferation of extreme shallow focus–or in layman’s terms, lots of blur ...
The camera stays tight on a gaunt, weathered face as we hear a train and the dull roar of exhausted travelers disembarking at the outset of Son of Saul. The screen is narrow — almost square — so there ...
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