Films byTexts by 1972
FILM
The Bridle on the Neck
Cecilia Mangini, 1972, 13’

Seven-year-old Fabio Spada is narrated into our awareness with pedestrian, bureaucratic details: the name of his parents, the exact location of his family’s cramped living situation in a tower block in the Roman suburbs, and this suburb’s transport connections.

FILM
Federico Fellini, 1972, 117’

This urban fantasia interweaves recollections of the director’s young adulthood in the era of Mussolini with an impressionistic portrait of contemporary Rome, where he and his film crew are gathering footage of the bustling cityscape.

 

FILM
Éric Rohmer, 1972, 97’

Frédéric’s perfectly ordered life passes by pleasantly enough. He’s married to the woman he loves, is the father of an adorable little girl, and has set up a prosperous business with a colleague. He even has free time to enjoy the pleasures of Parisian life.

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’

A psychologist is sent to a station orbiting a distant planet in order to discover what has caused the crew to go insane.

 

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’

In 1972, newly radicalized Hollywood star Jane Fonda joined forces with cinematic innovator Jean-Luc Godard and collaborator Jean-Pierre Gorin in an unholy artistic alliance that resulted in Tout va bien.

FILM
Sarah Maldoror, 1972, 105’

The story of the repression of a member of the Angolan liberation movement and his endless search for his wife with his son, revealing of how the bureaucratic logic of colonialism works.

 

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’

It's 1560; the Spanish Empire's reach has come across South America. Now leading an expedition on the Amazon River, a group of Conquistadors are now looking for the legendary city of gold: El Dorado.

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
Chantal Akerman, 1972, 11’

Panning shots describe the space of a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. Sitting on the bed there is the presence of a young woman: the filmmaker herself, eating an apple.

 

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.