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I also think it's an instant classic if that means it feels "perfect" right away; it feels masterful and confident. I certainly would not call it "classical" because it's so subversive or "modernist" to be so coy and subtle about the changes in Kate's knowledge about him that a major change of knowledge is presented exclusively in visual form and there is no speech whatsoever that states what she learns when she sneaks into the attic and sees old photos of Katia. It was interesting to notice several patrons, when we showed it here, who totally missed this development or did not quite trusted their eyes because the issue is left not only unresolved but un-mentioned.
This movie is a superb example of a type of narrative that revolves around the protagonist's "change of knowledge" (another common pattern of plot development is "change of fortune"). I've watched the film multiple times now and I think it's magnificent.
Last edited by oscar jubis; 02-11-2019 at 06:57 PM.
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Good point: being coy about essential knowledge in a film is a modern thing, no doubt. Wouldn't another one be Ruben Östlund's Force Majeure. Also there would be Julia Loktov's The Loneliest Planet(NYFF 2011) - These are all sudden revelations of cowardice Another thing maybe modern cinephiles like - and are probably going to like even moe as time goes on and machismo is more discredited?
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