The thinking machine 26: only free gestures
Directed by Cristina Álvarez López, Adrian Martin
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In 1984, Raymond Bellour reflected on a method and style of film analysis that grasped – as modern cinema itself also did – for decisive moments of absolute stillness, freezing, arrest. The emblem of this revelatory stasis was (as Serge Daney attested) the face of young Jean-Pierre Léaud on the beach at the end of François Truffaut’s The 400 Blows (1959). Yet Bellour also anticipated a time when analysis would reinvent itself audiovisually as “only free gestures” – once time has passed and the freeze-frame has burned itself up. Let us look into Léaud’s face for a response…Read moreLess
In 1984, Raymond Bellour reflected on a method and style of film analysis that grasped – as modern cinema itself also did – for decisive moments of absolute stillness, freezing, arrest. The emblem of this revelatory stasis was (as Serge Daney attested) the face of young Jean-Pierre Léaud on the beach at the end of François Truffaut’s The 400 Blows (1959). Yet Bellour also anticipated a time when analysis would reinvent itself audiovisually as “only free gestures” – once time has passed and the freeze-frame has burned itself up. Let us look into Léaud’s face for a response…
The story
In 1984, Raymond Bellour reflected on a method and style of film analysis that grasped – as modern cinema itself also did – for decisive moments of absolute stillness, freezing, arrest. The emblem of this revelatory stasis was (as Serge Daney attested) the face of young Jean-Pierre Léaud on the beach at the end of François Truffaut’s The 400 Blows (1959). Yet Bellour also anticipated a time when analysis would reinvent itself audiovisually as “only free gestures” – once time has passed and the freeze-frame has burned itself up. Let us look into Léaud’s face for a response…
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- Director
- Cristina Álvarez López
- Director
- Adrian Martin