Records of Material Objects in Cinema #13
Daniel KasmanFrom Mikio Naruse’s Hideko, the Bus Conductress (1941).
From Mikio Naruse’s Hideko, the Bus Conductress (1941).
A witty clothing detail in Alexander Mackendrick’s The Man in the White Suit (1951).
Hints of a filmmaking conspiracy.
An unexpected detail in Robert Bresson’s 1966 masterpiece, Au hasard Balthazar.
From a making-of documentary on George Miller’s Mad Max 2: The Road Warrior (1981).
A scene of erotic reverie in Frank Borzage’s Doctors’ Wives featuring a young, gorgeous Joan Bennett.
Two thrillers by François Truffaut and Wim Wenders surprisingly share the exact same cinephilic object.
At its essence, White Material is an exploded chamber drama. A Haneke-style family unit (complete with a brutally bored son) holed up mentally, emotionally, economically and geographically encounters
A publicity still of Anna Baldaccini's breasts, from Jean-Luc Godard's Sauve qui peut (la vie) [Every Man for Himself], a film about capitalism, prostitution, objects, commerce, and making movies. Sauve
A rug, at the feet of Linda Marlowe, in Stephen Dwoskin's Girl (1975), cinematography by Dwoskin.
In a moment of beautiful exhaustion, Joan runs her hand through her brilliant, blonde hair in Frank Borzage’s Doctors’ Wives.
A winter melon, from Jean-Marie Straub and Danièle Huillet's Sicilia! (1999); cinematography by William Lubtchansky, one of the great artists of cinema, who passed away this week at age 73.