January 17, 2014
StarLite Film Festival

Hey guys! Check out the StarLite Film Festival next weekend if you’re in town or spread the word by sharing this link. The festival showcases some of the best microbudget filmmaking from around the world. Definitely some good experience for film students or any cinephile out there. Single tickets for showings are $5, while an all access pass to the festival is $30! For students it’s just $10! For more details just click the link. Cheers!

June 19, 2013
Creative Writing Exercise 5

And finally, the fifth exercise. 

The prompt: Recall an experience that changed you. Write about it with one of the traditional openings of story.”

Once upon a time there was a young girl that played alone in the woods. She enjoyed frolicking through the trees instead of taking naps after school. She lived a carefree childhood and grew up with a loving family. Her mother and father supported her with everything she did; whether it included art lessons, horseback riding, or visits to the playground, her parents offered their loving hands at every step of the way.

Being a child, she didn’t have to worry about what really happens in the ever so scary world of adulthood. She was lost in her books and constantly carried around her imagination with her. She played alone in the woods with all her friends she met in the different stories she picked up over the years. She overheard her parents talk of adult matters but the words simply flew over her head as she continued on with her childhood and dreams.

At the time of her grandmother’s death, she was only 8 years old. She wasn’t very close to her grandmother, but she enjoyed her weekly visits. She enjoyed how her grandmother made her feel as they were both snuggled in bed, and her grandmother told her special stories. The child’s favorite story was about all the stars in the universe and how they represented their ancestry. Her grandmother would whisper stories of when ancestors passed away, their stars appeared bright in the night sky. Each night the child would look up at the sky in wild fascination as she wondered about the members in her family that lived before her.

The child didn’t pay much attention to the declining health of her grandmother or the sad faces of her family that accompanied her. She knew something was wrong but didn’t pay much attention to it; she had more important matters to contend with, like conquering the recent level in her new video game.

When her grandmother passed away, that was the first time she had heard the word death; the first time she had seen the tears, the mourning and the blackness. She understood that her grandmother was gone but not the severity of it all. A child should never have to deal with death. Though the child did notice a new star in the night after her grandmother’s funeral. There was a familiarity with the brightness and she knew at once it was her grandmother waving to her from the sky.

In her adult years, the girl looked back at the experience and her heart filled with sadness. She wished she could have shown how much her grandmother meant to her and properly mourned her death. Now the girl looked at life in such a strange and delicate way, wishing that she was once again a child.

June 19, 2013
Creative Writing Exercise 4

And the fourth exercise…

The prompt: "Write a short character sketch of someone in your family. Write a monologue in which that person tells you an anecdote from his or her childhood."

The person I will be characterizing is my Grandfather. This is based off of actual events from his life. I am currently helping my Grandfather record his life story through writings/video. There’s a lot of information that includes his adolescence living in Greece during WWII to sailing to America alone with nothing in his pockets, with hopes of starting a new life. He will be 89 in September.

Pete sat at the kitchen table, calmly sipping his black coffee. Despite his age, he towered over his grandchildren as he continued with his story.

“You have to understand that life was different back then. Simpler. I didn’t have much growing up, but that was because my family was poor. You should be thankful to live in such a beautiful house and have access to TVs and phones. Before the Nazis invaded Greece, I spent most of my childhood working with my father on our farm. I was in charge of the sheep.”

Pete paused for a moment and smiled, reminiscing about those positive moments in his childhood.

“I will never forget this – these two events that happened shortly after they arrived…I was on top of the mountain that overlooked our village, sitting with the sheep. The land then was always quiet. Peaceful. I could easily fall asleep on top of that mountain to the sound of the wind and the waves.”

Pete rummaged through the pictures he had set up in the middle of the table and pulled out the picture of his old village. He showed his grandchildren the image. They silently stared into the past, with big eyes.

“But that day was different – the ground was rattling and the air was full of noise – the sound of airplanes, tanks, and foreign tongues. The village was different when I walked into town that day – my friends and family whispered amongst themselves as the men in uniform started to take control of the town, first threatening those who didn’t obey and then killing them without mercy. The Nazi’s occupied our lands and homes – stealing our food and beds. I remember sleeping in the barn with my sisters for months.”

He clenched his fists in anger and cleared his throat in an attempt to scare away the approaching tears.

“Then they began threatening us at school. We were in the middle of math lessons that day when we heard the tanks approach the building. They spoke German first and then had one of their other men translate the language. They wanted us all outside in 5 minutes or they’d attack the school. My teacher looked worried but didn’t hesitate to take us outside. As we stood there, the Nazi’s brought familiar faces from our village in front of us, that I later found out were part of the growing rebellion against the Nazi’s – without a word they used the columns around the school to hang them all. We were forced to watch. The images of those men and women dying are still etched in my brain. I’ll be thinking about them until the day I die. The Nazi’s screamed at us children that if any of us tried to rebel, this would be our fate.”

Pete stared off into space as the tears began pouring freely from his eyes. His grandchildren didn’t have anything to say in return, no words would ever be able to comfort him.

June 19, 2013
Creative Writing Exercise 3

The third recent exercise submitted. 

The prompt: Write two pages of dialogue between two people, one on a cell phone, the other on a landline. They disagree about an object, animal, place, or person. Develop the disagreement using concrete significant details. We should learn where each of them is.”

Alex: Hello?

Phil: Hey, Alex.

Alex: Phil? Did you get a new phone?

Phil: No, it’s my landline.

Alex: You have a home phone?

Phil: Yeah…never really turned it on before.

Alex: That makes no sense. I’ve never seen one at your place. A pause. It’s nice of you to return my phone call…

Phil: I know. I’m sorry. I was up late working at the office again.

Alex: What was it this time?

Phil: Oh, you know…the usual…the deadline’s coming up and they needed my help trying to turn around the numbers for the big proposal.

Alex: I thought you finished the proposal last week?

Phil: No…this was a new job. One of those last minute things.

Alex: What do you want to do tonight?

Phil: I’m not sure I’m up to going out. Last night was…you know, rough.

Alex: You’ve forgotten, haven’t you?

Phil: Forgotten what?

A long pause.

Phil: What is it now, Alex? You know I’ve been busy with –

Alex: Our anniversary.

Phil: That’s today?

Alex: I knew you’d forget.

Phil: Babe…listen, it’s not my –

Alex: You’re at home, you said?

Phil: Yeah. Obviously. How would I be calling you? I’m in bed. Maybe we can resch –

Alex: Do you hear that?

Phil: Hear what?

Alex: You still can’t hear anything?

Phil: What are you doing?

Alex: Where are you?

Phil: Will you stop! I told you! I’m at home!

Alex: I’m knocking at your door, Phil. I’ve been knocking for the last minute.


Phil: Okay…listen…

Alex: You’re with her again, aren’t you? I thought you said you were done with her.

Phil: I’m not with her!

Alex: Of all nights?

Phil: I haven’t seen her for months!

Alex: I can’t believe you.

Phil: I’m not seeing anyone!

Alex: I know it’s her. Of all the nerve. HER?

Phil: I was at the office last night!

Alex: You were at HER home. Where else would you be, Phil?

Phil: I will tell you again – I haven’t seen Susan for months.

Alex: You saw her last night.

Phil: Alex…

Alex: Where are you now?

Phil: What do I have to say to convince you that –

Alex: The last time you were with her, you used that same excuse. ‘I’m at the office. It was a hard night.’

Phil: Call Ted if you don’t believe me!

Alex: Why can’t you admit you slept with her last night?

Phil: I didn’t!

Alex: I’m done.

Phil: I didn’t screw her last night, Alex!

Alex: We’re over. I don’t want to speak with you again.

Phil: Wait! Wait, Alex! Okay. Okay…I’ll tell you the truth…

Alex: It was her. Let me hear you say it.


Phil: It was…it was her. I’m sorry.

Alex hangs up.

Phil: Alex? Alex! Beat. Shit. 

June 19, 2013
Creative Writing Exercise 2

Here’s the second recent exercise I submitted for the same class. 

The prompt: "Write a paragraph of no more than a hundred words presenting a character through authorial interpretation. Cover at least five years in the character’s life, four qualities he or she possesses, three important events, and two habitual actions."

Audrey spent her childhood with her imagination. While lost in books, Audrey found humor and honesty in life. When she was 5, she made her first friend on the playground. They remained close well into adulthood. Years later, when Audrey graduated high school, she decided to use whatever money she had saved to backpack across Europe. Audrey learned sincerity and compassion while visiting each country. No matter where Audrey was, she always went to the cinema on weekends to watch classic films and took her dog for a walk in the afternoons. On Audrey’s 25th birthday, she met her husband by the Cibeles Fountain in Spain.

June 19, 2013
Creative Writing Exercise 1

Here’s the first recent exercise I submitted for a creative writing class I’m taking this summer.

The prompt: "Listen, alone and intently, to a piece of music you care about. After listening for five or fifteen minutes, write anything the music suggests to you. If it has lyrics, don’t use the words of the song, but the images in your own brain, the words that paint your feelings. Don’t try to make sense, or even sentences; let the music dictate your words."

Music choice: Passacaglia for Violin and Viola by George Frideric Handel and Johann Halvorsen.

The music conveys sadness but also a sense of urgency. Anxiety is everywhere and sends pulses down my back. I feel I must be doing something, anything while listening to this song. Emotions are all over the place. No brightness, just darkness and bleak colors throughout the whole song. Families that are starving, men at war, children living in the streets, villages and cities that are being invaded and burned down. New cities are replacing the old, more and more statues erected of an unknown face. There is something that has to be done before an allotted time, and life itself is at risk. Everything is a ticking time bomb.

It makes me imagine a protagonist that follows the beats of the song, struggling with every second of the ride. Running. Hiding. Fighting. Pushing forward despite each obstacle. There is chaos. Even more fights. Death. Images that have a striking resemblance to WWII and especially The Holocaust. The protagonist is everyone’s only hope for the end of whatever war they are fighting. He continues to push forward, knocking down enemies and carrying the torch of the future.

At the climax, there is tragedy. Something is taken away from the protagonist unexpedidly. I saw a very cinematic moment where the camera pans down and then zooms into the bewildered face of the protagonist as he realizes what has happened. A wound. Lots of blood oozing from his hands. Evil laughs in his face and leaves him there to die. There is no hope and now the end is in sight. The destination and the goal itself continues to move farther and farther away. What will become of the future? And all the innocent people the protagonist is now responsible for? Death is closer. Darkness is creeping up at a faster pace. But no. There has to be movement. He must carry on, no matter what. The job must be finished. The darkness halts and death accepts but they continue to follow the protagonist as he attempts to carry on. Step by step.

At the conclusion of the song, with each note contradicting the other, the protagonist faces his future. A clash of the instruments, the slow descent into death, but the mission was completed. He can die without guilt. The seed has been planted. Though the music isn’t as sad as the beginning of the piece, there is now hope for the better future.

February 22, 2013
Body Heat

Who doesn’t love a good film noir? Murder, debauchery, intrigue, a combination that would make the likes of Alfred Hitchcock and Humphrey Bogart proud. Body Heat, directed by Lawrence Kasdan, features those aspects but explores the question of what a man would do under the false pretenses of love and attraction. The film stars William Hurt and Kathleen Turner in the main roles, with a supporting cast of Ted Danson, an almost unrecognizable Mickey Rourke, T.A. Preston, and Richard Crenna. The film begins during the start of a massive Florida heat wave that sets the whole town ablaze with complaints. Ned Racine (Hurt) a inexperienced lawyer starts an affair with Matty Walker (Turner) the wife of Edmund Walker (Crenna) a rich businessman. One thing leads to another, and before Racine knows it, he’s planning to murder Edmund. Racine is motivated not only by Matty’s plea but the thought of having Matty and a whole slew of cash all to himself.


Body Heat is Kasdan’s first attempt at a director, with previous screenwriting credits including those for Raiders of the Lost Arc and Star Wars: Episode V and VI. His directorial debut’s an obvious departure from watching Luke Skywalker and gang travel around the universe to Indiana Jones fighting Nazi’s over the safety of the coveted Arc. Throughout Body Heat, I couldn’t stop thinking about Billy Wilder’s film noir Double Indemnity. From Matty’s motivations, her sporting the same white dress worn by Barbara Stanwyck, to the identical golden locks – there were far too many similarities, even in the plot. Both women wanted their possessive rich husbands dead, and thought it would be easier for their lovers to do the deed. Racine stumbles into the same trap that Fred MacMurray’s character gets himself into – falling in love with a golden haired goddess and discovering she’s more like medusa than anything else.





The increasing Florida heat plays a supporting character within itself. The heat undoubtedly is what brings everyone together. It pushes all the characters to do drastic things, from having affairs to committing murders, who knows what will happen when the temperature rises? As seen in the film Do the Right Thing, the heat causes a small block in Brooklyn to go against each other in the most violent of ways, nearly burning the section down by the end of the film. Every time the temperature is mentioned in Body Heat, the tensions rise. The opening scene of the film shows a house on fire a few miles from Racine’s house, that constant flame is reignited during two other pivotal moments in the film – at the middle, when Racine commits his first and only crime and the end, where one plot twist after another results in a deadly explosion.

Film noir is my favorite genre or form of expression in film, the term is different with everyone. One of my favorite aspects of Body Heat is the plot. The narrative has to be dragged on and a little confusing to muster the first time to be a successful film noir. The characters and the plot twists have to be just as ridiculous and unexpected as the situations they create. I felt that Body Heat did film noir justice – taking what the pioneers of film in the 40s and 50s did with it and pushing it a little further, almost embracing the lack of production code of the more modern age with more scenes focused on sexuality.


What made the plot so strong and compelling were the performances of Hurt and Turner. The two pushed the plot almost seamlessly along as I watched them move closer and closer to the inevitable train wreck at the end. 

February 5, 2013

Fargo is a crime drama directed by the Coen Brothers and was released in 1996. The film stars Frances McDormand in the leading role, with a supporting cast featuring William H. Macy, Steve Buscemi, Peter Stormare, and Harve Presnell.  The film begins with car salesman Jerry Lundegaard (Macy) seeking out two sketchy criminals, Carl Showalter (Buscemi) and Gaear Grimsrud (Stormare), for a bizarre plan that involves kidnapping his wife for an even more ridiculous ransom of $80,000. The main motivation behind the kidnapping is that Lundegaard’s wife is the daughter of a rich man who continues to ignore Lundegaard whenever it comes to anything financial. Unbeknownst to the criminals, Lundegaard comes up with a scheme to request more ransom, that he’ll later use for his own gain. It is soon discovered that Lundegaard is in some serious financial troubles; in hopes of making it rich with a real estate deal, Lundegaard has been forging loans from his dealership to raise money. After Showalter and Grimsrud kidnap Lundegaard’s wife, a series of unlucky events simultaneously follow. The criminals accidentally start a trail of blood that eventually involves pregnant police chief Marge Gunderson (McDormand) to investigate the killings. Her tenacity and detective skills lead her to unravel a plethora of crimes that catch up with Lundegaard and later ends with victims being disposed most barbarically through a wood chipper.


Fargo is the Coen Brother’s sixth film and yet it’s strikingly similar to some of the other films in their careers. The level of violence,  suspense, combined with a clever use of satire and comedy are reminiscent of Raising Arizona, Barton Fink, The Big Lebowski, and even A Serious Man. The pacing in Fargo starts off slow as a small town would in the early mornings – the audience soon gets accustomed to the familiarity of the atmosphere until something horrible goes wrong that leads the rest of the film spiraling out of control. The same can be said for all the films listed above, most especially Barton Fink, where a screenwriter living in a Hollywood motel soon discovers that the land of opportunity wasn’t what it was cracked up to be. A good instance of satire in Fargo is the oblivious male police officers apart of the small town where Marge practically solves the complicated crimes on her own, a la Sherlock Holmes. The use of satire in Fargo is similar to the political and Hollywood satire in Bartin Fink and even the blatant satire of Judaism in A Serious Man.  It’s also similar to Breaking Bad due to the fact that the pathway to hell is paved with good intentions. Lundegaard’s only motivation for wanting to kidnap his wife was to get the money that will finally make him a successful man, where he can provide for his wife and be respected by his father-in-law. As proven throughout the five seasons of Breaking Bad, everything that can go wrong, most certainly will.



One of my favorite aspects about Fargo is the use of the setting. Almost all of the scenes that take place in the exterior are surrounded by cold, dark, and overall unpleasant weather. It’s the middle of winter in Minnesota, there is snow everywhere, and practically no one is on the roads. That alone creates a sense of isolation and yet gives an impression that the events that take place in this film are being watched closely, as if from a snow globe. That snow globe effect is created with the use of long shots by the Coen Brothers.



One of the first scenes of the film is when Lundegaard is driving to the bar to meet the criminals. A long shot is used to film Lundegaard and his appearance seems to be miniscule compared to the world around. Another important note worth mentioning is that at the beginning of the film it states that Fargo is “inspired by true events.” It is later discovered that these events are false. I was confused as to why the Coen Brothers would put this at the beginning of their film but then quickly realized it was to help add a layer of believability to this world and the characters in it. Almost all of the events in this film are absurd and there is a level of dedication given from the audience when accepting the fact that everyone is capable of breaking the law. Whether it’s with murder, stealing money, or just plain lying – everything is relatable and stating it’s based on true events gets the audience invested. I certainly was.


I’ve seen Fargo many times. My first viewing was when I was a child, and I realize this film is one of the many I should’ve avoided, along with Jaws and Alien. Perhaps watching a man struggle as he tries to shove a man through a wood chipper wasn’t the best thing for a child to watch let alone some other scenes throughout this film. I love how the Coen Brothers flawlessly blended a series of unfortunate events with different storytelling techniques. Even at the most intense moments of the film it’s bursting with hilarious moments due to the dialogue and performances. This film wouldn’t be what it is without McDormand, Macy, Buscemi, Presnell, and the rest of the cast. Finally, the stunning score by Carter Burwell paired with the bleakness of the surroundings and tragic events that slowly unfold throughout the story make Fargo one of the Coen Brothers best films.


January 21, 2013
Strangers on a Train

Strangers on a Train is a psychological thriller directed by Alfred Hitchcock and was released in 1951.  The film stars Farley Granger and Robert Walker, with a supporting cast featuring Ruth Roman, Patricia Hitchcock, Leo G. Carroll, and Kasey Rogers. The film begins innocently enough when tennis player Guy Haines (Granger) and Bruno Antony (Walker) meet accidentally on a train.

After a couple of lunchtime drinks, the two somehow find themselves discussing their hatred for two different individuals in their lives. Bruno is fighting for a divorce from his cheating wife Miriam (Rogers) to marry Anne Morton (Roman). Bruno has always carried a lifelong hatred for his father. This motivates Bruno to unveil his master plan for the perfect murder: they each kill the individual the other no longer wants in their life. Since the two are strangers and by criss-crossing the murders, Bruno explains it’s a relatively simple crime. Guy immediately disregards Bruno’s plan, thinking it’s a joke, and bids him adieu. Not long after they separate, Bruno upholds his part of the bargain by disposing of Miriam. With the police on Guy’s tail after Miriam’s murder, he refuses to kill Bruno’s father – while continuously threatening Bruno that he’ll go to the police. The rest of the film is a cat and mouse chase as Guy tries to clear his name and escape the ominous wrath of Bruno.

Strangers on a Train comes from the middle of Hitchcock’s repertoire, though sometimes this film is overlooked due to the success of his later films. Strangers on a Train was made after Rebecca, Rope, Suspicion, and Shadow of a Doubt. These films all came long before Psycho, The Birds, Vertigo, and North by Northwest. What Strangers on a Train has in common with all the films mentioned is the masterful and often simple use of suspense. Strangers on a Train is more of a psychological thriller; there isn’t a level of mystery in this film as in Shadow of a Doubt or Suspicion due to the audience knowing the horrors that Bruno is capable of but there is never any lack of tension throughout the film. Not only does Bruno creep into the subconscious of Guy but his constant reappearances throughout the film serve as a representation of the boogeyman. Walker’s portrayal of Bruno was reminiscent of Robert Mitchum’s performance in Night of the Hunter.



No matter where Guy went, Bruno wasn’t far behind. That is executed the best in a scene when Guy is walking along one of the monuments in Washington, D.C. As Guy gazes up, it cuts to an eerie shot of Bruno standing on the isolated steps of a monument, carefully watching Guy. It’s with those simplistic shots that make this film so perfect. They add another later to the creepiness of Bruno, which makes him more threatening in the end; forever a looming presence in Guy’s life.


This film focuses on many things but one of the most prominent is the use of criss-crossing in terms of what parallels they lead to. Criss-crossing is only brought up towards the beginning of the film when Bruno initially states his plans to Guy. It continues throughout the whole film through the editing and visuals. The obvious parallels are between Guy and Bruno; the protagonist vs. the antagonist. A great scene that shows their parallels is towards the end. Guy is playing as hard as he can to win a tennis match while Bruno is on the way to the carnival to plant evidence that proves Guy murdered his wife, even though it was obviously Bruno who committed the crime. With each swing of the tennis racket, it jump cuts to Bruno sitting on the train; this goes back and forth for a good five minutes as Guy continues playing and Bruno gets closer to his destination. The tension heightens with each cut; a good example of the struggle between good and evil. During that whole scene, there are cuts that parallel Guy with Bruno through words and actions. Guy asks what time it is, and there’s an immediate cut to Bruno checking his watch as he steps off the train. Hitchcock uses these editing techniques to crosscut between Guy and Bruno at numerous points throughout the film to further show their different personalities. Another scene that includes this editing technique is when Guy is in a phone booth speaking with Anne about Miriam’s reluctance to a divorce and screams, “I could strangle her!” The next scene is with Bruno, as he follows Miriam to the carnival, where he later plans to stranger her. Another parallel that can be attributed to the editing is two of the supporting characters wearing glasses. Miriam and Barbara Morton (Hitchcock) wear identical glasses throughout the film. When Bruno is strangling Miriam at the carnival, the murder is viewed through Miriam’s fallen glasses. Barbara also sports similar glasses and is often confused as Miriam whenever Bruno is on screen. Later in the film, during a party, Bruno coincidentally has his hands around a woman’s neck to prove a point about murder when he catches Barbara watching him. There is a close-up on Barbara but the main focus is her glasses; they trigger a conditional response to when Bruno murdered Miriam.




Strangers on a Train is my favorite Hitchcock film. I’ve seen it numerous times but never in a classroom setting. It never fails, every time I watch this film I learn something new about the characters or notice new things about the way Hitchcock shot the film. One of the reasons why this film is my favorite is because of how Hitchcock chose to tell the story through the visuals. There are several moments in this film where the visuals are at their best. The most notable scene is leading up and during Miriam’s murder. As the camera follows Bruno as he stalks Miriam through the carnival, there is a sense of impending doom.  That moment when I’m watching Bruno murder Miriam through her glasses forever changed the way I look at cinema; that is also the moment when I knew I wanted to be a director. 


That is just a hint of how this film is loaded with different possibilities when it comes to storytelling. Another important scene that proves Hitchcock’s brilliance at telling stories visually is during the tennis match. As Guy is waiting to play the match of his lifetime, he gazes up to the stands and immediately spots Bruno.


The people on the benches are moving their heads back and forth as they watch the match and the only head not moving is Bruno’s. He stares at Guy as the camera moves closer to him. The shot was both eerie and inspiring; such a simple way to show a villains power. It is also safe to say that I will never look at a merry-go-round the same ever again.

January 10, 2013
Last Year at Marienbad: A quick review

Last Year at Marienbad is a film directed by Alain Resnais and was made in 1961, though at points it felt like a film coming from the 1930s-1940s, in the direction of Jean Renoir. To be honest, I’m still not sure what this film was about. Apparently it focused on a man and his mad attempt to prove to a woman whether or not they met a year ago, in you guessed it, Marienbad. I always have an open mind to films, ranging from all types of genres and styles, but this one just didn’t work for me. It wasn’t the fact that it was too avant-garde or didn’t make sense, I was just bored with the overall execution of it. For an hour and thirty minutes, I was waiting for something to happen. ANYTHING. The only thing that happened were characters walking aimlessly down hallways and stairs, repeating the same dialogue consecutively, panning shots of corridors, the same casino game in every other scene, characters suddenly freezing in mid-sentence, and jarring direction and editing. There was no narrative, no main protagonist - it was all just very dull and repetitive. There were moments during the film where I literally groaned because it was unending. The acting was also aggravating - it was exaggerated and way too theatrical for my taste.


I was a little shocked at myself for not enjoying it because most films I love are abstract or experimental in some ways. For example: Eraserhead. I’m also not quite sure what in Gods name happens during moments of that film, but lots of interesting and sick things occur that keep me interested. I was constantly intrigued due to how David Lynch wrote and shot the film (but this is for an entirely different post). 

What I did enjoy about Last Year at Marienbad was that there were moments when it felt like a surrealist painting coming to life - most notably a scene taking place in the garden reminiscent of the opening credits from Melancholia. The characters were frozen in time, staged positions, with their shadows growing - as if about to take up the screen.


There were also some interesting shots focusing on a statue - though I didn’t think that related to anything. The conversation went on throughout the rest of the film about what the statue depicts.

In a way I can see how this film distorts the differences between dreams, reality, and memories. Obviously the use of deja-vu with the continuous dialogue, shots, and actions. I want to say that perhaps this whole film is supposed to be a dream - those rare dreams that one might have almost every night or throughout ones life. Those dreams that perplex and make one think about their true meanings. 

I’d like to re-watch this film in the future. Maybe I didn’t watch it at the right moment in my life to enjoy it as others have. As with all films, I respected it.