Films byTexts by 1972
FILM
Bill Douglas, 1972, 46’

Bill Douglas’s films My Childhood, My Ain Folk and My Way Home are three of the most compelling and critically acclaimed films about childhood ever made.

FILM
Solaris
Andrei Tarkovsky, 1972, 167’

“The analogy that I use was that the Lem book, which was full of so many ideas that you could probably make a handful of films from it, was the seed, and that Tarkovsky generated a sequoia and we were sort of trying to make a little bonsai.”

FILM
Alfred Hitchcock, 1972, 116’

“[...] That millions of people every day pay huge sums of money and go to great hardship merely to enjoy fear seems paradoxical. Yet it is no exag­geration. Any carnival man will tell you the rides that attract the greatest clientele are those that inspire the greatest fear.

FILM
Red Psalm
Miklós Jancsó, 1972, 87’

“Jancsó developed the mise en scène in his strenuously physical way, pacing the terrain back and forth in all directions to work out the movements of the performers and those of the camera.

FILM
Jean-Luc Godard, Jean-Pierre Gorin, 1972, 95’

“Such, in its strange, timeless beauty, is the declaration of Godard’s film. ‘Everything’s all right’ is a statement whose creative force can be gauged by the fact that, in real life, it seems clear that everything is going to hell in a handbasket.

FILM
Sarah Maldoror, 1972, 105’

“You have to know that there are no whites, no mulattos, no blacks. There’s only the poor and the rich. The rich are the enemies of the poor and they make sure they stay poor.”

Domingos

 

Article EN
16.02.2018

Th[e] introductory intertitle, […] allows us to read in Sunrise (1927), far more than its inconsistent “philosophical” pretext, its major signifying articulations – namely, an in order of appearance: dramatis personae, but not characters in the traditional sense (the absence of names reduces the introduction of individuals to pure roles, networks of functions and attributes); time, but not history (the narrative refuses any relation to a real chronology, any temporality beyond the segmentation on which it is founded: the times of day); places, but not geography (purely fictive locations, referring to no extra-filmic reality); and finally the film’s tones, the curious “mix of genres” it produces.

FILM
Werner Herzog, 1972, 95’

“In 1560, not quite twenty years after the death of Francisco Pizarro, who had conquered Peru for Spain, an elaborately provisioned party of conquistadores set out from Quito to find the land of El Dorado. It was a fearful journey first to cross the Andes but even worse on the other side.

FILM
The Canterbury Tales
Pier Paolo Pasolini, 1972, 111’

“Despite all the writings, and they are voluminous, by Pasolini and about Pasolini, there is little reference to the fact that his work is an outstanding example of artistic Modernism. Perhaps the silence is due to his fierce dislike and rejection of Modern society.

FILM
Days of ’36
Theodoros Angelopoulos, 1972, 105’

“More than Reconstruction, Angelopoulos’s direct indictment of the Junta came in 1972 with his film Days of ’36 [Meres tou ’36].

FILM
Chantal Akerman, 1972, 65’

“In the second of her 1972 experiments, Akerman again wanted to draw viewers’ eyes to elements in the frame that they might not otherwise have considered. Similarly focused on architecture and interior spaces, Hotel Mônterey is grander in scope than La chambre.