A technical film, motionless, deceptively motionless, on editing. Michael Lonsdale as director and actress Tamia as his assistant, for 75 minutes. will edit a film before us in an endless dialectic of looking, watching, movie filming, movie filmed.
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Film as universal meditation. Creativity and partnership between the sexes have been fundamental to some of Hanoun's previous films, but never before AUTUMN were they engaged so frontally. The word frontal is fundamental. It is hard not to think of the way Ozu faces his actors head-on. Here, however, the unseen reverse-shot is of the audience itself. Think of Brecht. And along w/ that: the mystifications of language.
A film that observes us while we observe it and in those concomitant acts and times, the viewer becomes the director of a movie that, simultaneously, gives back to the viewer his role and function: subject is the spirit that is its form which is its soul. At the same time does a detached representation of what is represented, sneering about the composition that actually composes without detachment.