Unlike other filmmakers identified as auteurs, Linklater’s distinction is not found on the surface of his films, in a visual style or signature shot, but rather in their DNA, as ongoing conversations with cinema, which is to say, with time itself.
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Well i do love Kogonada, his great film-essays and i'm eager to watch his first length feature coming ("Columbus") but i'm not sure, in this particular case, that's not his best work. His shorts about Bresson, Kore-Eda or neorealism are amazing but Linklater is not, to me, as important or relevant as the previous ones, even if he has his own obsessions and ideas.