Russians may find profundity in the story and themes of Andrei Tarkovsky’s 1975 film The Mirror, but for the rest of us it’s the images, the visuals.
A woman runs. 





Russians may find profundity in the story and themes of Andrei Tarkovsky’s 1975 film The Mirror, but for the rest of us it’s the images, the visuals.
A woman runs. 





I finished a bag of chips as we started to watch Jafar Panahi’s Taxi. I was about to get up and throw it away but waited.
The opening shot held too much promise, a point of view from Panahi’s car as he started through Tehran. I folded the bag and held it tight.


The film ended as suddenly as it had began, the camera removed, the screen now black. I realized that I still held the plastic bag tight and, at long last, stood to throw it away.
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