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Con le armi della Poesia

by José Neves
Someone, I do not remember who, once said that cinema was born to shoot the eyes of Lillian Gish. In any film, but especially in the first three that i highlight here, Lilian was undoubtedly the epitome of a human idea of fragility in cinema, but strong in her exhibition before a camera, the one that loves and understands her most. This list is not only about Lillian Gish but, under her auspices, on the women in cinema that set the screen on pale fire with their fragility and, above all, their gaze: film beings. Dedicated to Lillian Gish, of course. Its title comes from a Pier Paolo Pasolini’s statement about his films, which seems fair… Read more

Someone, I do not remember who, once said that cinema was born to shoot the eyes of Lillian Gish. In any film, but especially in the first three that i highlight here, Lilian was undoubtedly the epitome of a human idea of fragility in cinema, but strong in her exhibition before a camera, the one that loves and understands her most. This list is not only about Lillian Gish but, under her auspices, on the women in cinema that set the screen on pale fire with their fragility and, above all, their gaze: film beings. Dedicated to Lillian Gish, of course.

Its title comes from a Pier Paolo Pasolini’s statement about his films, which seems fair compared to someone who so much exposed himself – and that I still consider as one of the wisest, lucid and courageous human beings who ever lived – and so much filmed the excluded of the Earth.

by memory’s order, that poetry on the loose.

en construcción.

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