Favorite Movies of 2017

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I guess you could say spending New Year’s Eve getting screened in the Middle East by United States Border Patrol officers is the perfect ending to the political experience of 2017. At least I got some champagne and dessert afterwards.

Part of the flight, I re-read one of my absolute favorite pieces of film criticism ever written; Jonathan Rosenbaum’s review of Bela Tarr’s Satantango. It reassured me that the great cinema is not something that should be assumed to be lost on most people. That there is always an audience for a great film no matter how unwieldy, ambitious, or downright unappealing in appearance it may be. Rosenbaum is always great at scanning cinema and all its aspects of writing, directing, production, distribution, and consumption through the lens of a “power of the people” mantra. It’s a political philosophy which prioritizes access regardless of demographic models and it undoubtedly needs to be made more aware of because of the sectarian means by which cinema (and culture in general really) is showcased in America. So this too was a perfect capping of 2017.

This year, I continued my habit of the past couple years of just saying “fuck it” to trying to watch new releases just for the sake of watching them. Selectivism over volume, hurrah. Out of the dozens of remakes, sequels etc. that got churned out at the detriment of much more interesting material that could easily have taken it’s place, I saw but a few (War for the Planet of the Apes and BladeRunner 2049) and they were both rather underwhelming, especially in comparison to their own predecessors.

Looking at my Best of 2017 list, there is a dearth of American movies (also possibly due to the ambiguity of Hollywood vs. UK produced film). The three that end up on there are all, unsurprisingly, original films, one a major blockbuster by a well-known celebrity director, and the other two, small indie films by relatively new filmmakers. These movies are becoming rarer in a distribution cycle which is slowly and surely being overtaken by whatever sells in China, Hollywood’s largest market. Outside of Star Wars which remains quintessentially, an American-exclusive loved franchise entity, everything else from Marvel to DC to Fast & Furious to Monster Movies to whatever the hell James Cameron comes out with next is going to be seen by more Chinese paying customers more frequently than any other nationality of movie-goers on Earth.

But I consciously hoped to allow this list, like the ones I made in the past, be a representation of the diversity of cinema that is still existent in the nooks and crannies of cinema-halls in the U.S., if you care to search and look for them. Movies are always going to be there even with Netflix and Chinese-centric marketing models because there are always artists who are going to be making them. If not in the U.S, then elsewhere. It’s a huge world, and it’s connected closer and faster than ever. Fascism and nationalism are rising, but so is everyone’s desire to see things outside of their own box. Maybe 2018 will be about that.
Anyway, here’s the list of my Favorite Films of 2017. (click on the title of each film to be taken to a full review of the film) :

  1. The Other Side of Hope | dir. Aki Kaurismäki (Finland)
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With his latest film, The Other Side of Hope, Kaurismäki is his most unabashedly political and humanist. While his previous films, including Le Havre which dealt with very similar issues, nodded and prodded at societal undercurrents of Finland and Europe as a whole from the corner but disguising it with his signature façade of quirky deadpan humor, his latest offering doesn’t hold back punches. That’s not to say he strays anywhere near Ken Loach territory of melodrama-as-personal-statement, but Kaurismäki is undoubtedly the most fired up he has ever been about the current state of Finland.

2. The Florida Project | dir. Sean Baker (U.S.A.)

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The title of the film is taken from the developmental code-name for Walt Disney World, and its no coincidence because the film lies entirely within the shadow of “the happiest place on Earth”. From rainbows and Disney gift-shops to rich tourists passing by getting scammed by Mooney and her mother Halley into buying stolen park passes, the title becomes a rather darkly comedic joke, juxtaposing the lavish and carefree living of American families on their way to a magical vacation with a community of people barely making ends meet.

3. The Killing of a Sacred Deer | dir. Yorgos Lanthimos (U.K.)

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The Killing of a Sacred Deer, which can be considered Lanthimos’s first dive into genre cinema, plays on the same sort of premise set by James Wan’s Saw series. A sociopathic teenager named Martin (Barry Keoghan, who deserves every award for this) sets the rules for a game wherein the central character, a surgeon named Steven, (Colin Farrell) must make an unthinkable sacrifice to save himself and others.

4. Let the Corpses Tan | dir. Hélène Cattet & Bruno Forzani (France/Belgium)

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“You remember those Looney Tunes cartoons where Taz comes ripping through a jungle in a giant whirlwind and everything is just tearing and flying? That’s how I imagine Hélène Cattet and Bruno Forzani were in the editing room when they edited their latest film, a rapid-fire pulp-drama of blood and fury, Let the Corpses Tan.”

5. Clash | dir. Mohammed Diab (Egypt)

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The conversations that Diab strikes between his characters are wild enough to make our heads spin, the confusion of who is on who’s side is unclear enough to frustrate our ignorant and uneducated Western minds. I could tell, from the first 10 minutes of the movie, until its conclusion, that Diab’s film works both as a stark social commentary for an Egyptian filmgoer and a mocking satire of America and Europe’s feeble attempts to try to “pinpoint” the good and the bad of the Arab Spring. The film systematically obliterates our binary point of view when discussing tensions in the Middle East. Diab purposefully populates the back of the police van bit by bit with different groups, initially daring us to pick the good guys. Like the Western-educated rube I am, I fell for it.

6. Dunkirk | dir. Christopher Nolan (U.K./U.S.A.)

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The transparency of intentions may sound disappointing, as fans of Chris Nolan have grown to enjoy putting the pieces of his ambiguous film-puzzles together after the credits roll, but then, Dunkirk is a true story of a real event with real people. Nolan plays this straight and appropriately so. Nevertheless, there are many facets of Dunkirk which belie the traditions of a Hollywood war film, and Nolan’s direction innovates along with Hoyte van Hoytema’s camerawork and Lee Smith’s editing juxtapose points of view and deep focus shots that are mesmerizing in 70mm projection.

7. Vazante | dir. Daniela Thomas (Brazil/Portugal)

 

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Shot in a stunning black-and-white, there is a clear influence of Terrence Malick and other visually poetic directors that laces every frame of the movie. Centered around a Portuguese slave-trader Antonio and his new child-bride Beatriz, the film takes a unique approach to studying a historically dark and violent time for the South American continent. What would have undoubtedly been turned into an exploitation tale filled with torture and sex if Hollywood were to get their hands on it, instead becomes a quite understated (but still emotionally affecting) film.

8. Kedi | dir. Ceyda Torun (Turkey)

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Kedi is still overall light-hearted, featuring several sequences of “go-pro” style camera tracking shots that give ground-level point of view shots of the cat’s journey through human-dominated habitats. The film is fun, and it plays perfectly to our unmitigated need to place human characteristics and traits onto non-human animals. A sequence where one of the cats chases after a mouse plays like the tunnel scene from the Harrison Ford movie The Fugitive. The mouse peeks in and out, aware of the cat’s presence but avoiding being seen. It’s thrilling, it’s quirky, it’s exactly the type of thing that gets a million “likes” and “clicks” and “retweets”.

9. Endless Poetry | dir. Alejandro Jodorowsky (Chile)

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In Poesía sin fin, as with previous Jodorowsky offerings, much of the verbal philosophizing that goes on can be taken with a grain of salt, and much of may be dismissed by most as nonsensical blabber anyway, but what cannot be ignored is the brutal events which the central characters undergo and their constant search to find meaning in the physical pain and suffering they go through. Here too, Alejandro is beaten, raped, bled, and abused in several instances, and his anger is always accompanied with a questioning of his existence. This is how Jodorowsky thinks. After all, he is a man for who limitations and convention are a complete detriment to his world-view.

10. Brigsby Bear | dir. Dave McCary (U.S.A.)

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Originality isn’t what really sets Brigsby Bear apart. The film follows a conventional progression of a character’s “self-discovery” and its emotional appeal is derived from nostalgia. Once James eventually becomes re-acclimated with “normal society” outside his igloo sanctuary, he gets the idea to create his own Brigsby movie. Alienated from everyone by the fact that nobody “understands” his love for a TV show, the movie’s moral argument centers around how we reconcile with the idea of “normality” itself. Do our experiences as children and what we consume in media as children ultimately shape who we are? And is this good? The answer to the second question depends on who you ask.

 

Best “Past Discoveries” of 2017:

The Turin Horse | dir. Bela Tarr (Hungary, 2012)

I Stand Alone | dir. Gaspar Noe (France, 1998)

Twin Peaks (Season 1) dir. David Lynch (1991)

The Panic in Needle Park | dir. Jerry Schatzberg (1971)

The Sopranos (Seasons 1-6)| (1999 – 2005)

Night and Fog | dir. Alain Resnais (1956)

The Spirit of the Beehive | dir. Victor Erice (1973)

The Werckmeister Harmonies | dir. Bela Tarr (2000)

The Forbidden Room | dir. Guy Maddin (2015)

Shin Godzilla | dir. Hideaki Ano & Shinji Higuchi (2016)

 

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LET THE CORPSES TAN – Fire and Fast Cutting in the Medditerranean

 

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Let the Corpses Tan (Hélène Cattet & Bruno Forzani, 2017)

Everything in excess. Everything inspired. One sure way to catch the attention of an audience be it in the form of scorn or adoration is to do things the way Godard would. It’s the cinematic equivalent of “What would Jesus do?” and all else in post-modernist cinema essentially branches out from there. One of the major weapons at the helm of filmmakers like Tarantino and others who cut their teeth on the Godardian technique is editing, and they wield it like a crazed maniac slicing and dicing to no avail. You remember those Looney Tunes cartoons where Taz comes ripping through a jungle in a giant whirlwind and everything is just tearing and flying? That’s how I imagine Hélène Cattet and Bruno Forzani were in the editing room when they edited their latest film, a rapid-fire pulp-drama of blood and fury, Let the Corpses Tan.

One of the most obvious aspects of the film which, like a gust of Meditteranean wind, revitalized me in a late showing (11:00 PM!) which I wasn’t all too excited about, is that it reverts back to a conviction similar to early Tarantino, where the film is hardly concerned with telling any of sort of meaningul story, but instead plows full steam into a rapid heart-pounding pastiche of movie tropes that play like being slapped by every page of a copy of Steven Jay Schneider’s 1001 Movies You Must See Before You Die. Cattet and Forzani elaborately dress the film mainly as a Spaghetti Western with Giallo undertones and boil the stew up with Godardian jump-cuts, which are literally separated by a ticking timer (in hours & minutes) that tells you exactly how much time has passed both between each scene and since the beginning of the film. This is a moment of contention for me because it seemed to be the one and only place where the directing couple entered into a territory of excess that produced eye-rolls.

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It’s very difficult to tread that line between what can be considered bold stylistic experimentation and just doing a bunch of edgy shit for the reactions. This film falls almost on that line, but what really keeps it in reign is Cattet and Forzani’s understanding of where their inspiration is coming from. In the whole line of “movies about other movies”, if one doesn’t recognize the original utilization of a particular scene, or camera placement, or editing, an inspired subversion and homage to those images become merely cheap mocks. One of the best instances of this film really understanding where its style originates from is how every conversation between any characters in the film is a high-noon standoff with the camera constantly aware of every movement of a person’s eyes (averting, opening, closing), hands (on a gun, clutching a knife, caressing a woman), and feet (planted apart, together, or limp and lifeless). It’s a brilliant way to elicit all the emotions of a Western from just it’s bare-bones ingredients. Hélène Cattet & Bruno Forzani…you have my attention.

Trailer: https://www.youtube.com/watch?v=ONMbWj8u-RA

Personal Shopper

 

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Personal Shopper (Olivier Assayas, 2017)

 

The triumph of Kristen Stewart’s highly-touted performance in Olivier Assayas’s Personal Shopper is both a result of great casting and Stewart’s pressure situation for having the film’s entire plot be dependent on her character’s emotional reactions to situations. Stewart plays Maureen, a “personal shopper” for an uppity French designer. Her monotonous job involves going from store to store picking out outfits that her boss wants for her next runway show. However the film’s meat comes from Maureen’s real reason for being in Paris… finding her dead brother’s ghost. Olivier blends the melodrama of familial relations with a supernatural thriller but the film maintains a fully character-centric focus. The plot chugs only as fast and as slow as Maureen wants it to, making Stewart the center of attention in virtually every moment of the film. This speed conditioning is manifested quite literally in the long sequence in which Maureen receives anonymous texts in riddles. Throughout these sequences our perception of “time” in the movie is dictated completely by the pace at which Maureen responds to the texts. Our emotions are dictated by her’s facial response to each one she receives and the wait-time between the anonymous texter’s responses. Assayas’s deliberate subversion of American horror film tropes also play directly into Stewart’s ability to act. Ghosts, sex, and murder are all siphoned through Stewart and the camera concentrates on her personal encounters with these instances more than the instances themselves.

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The ending sequences concludes with a line uttered by Maureen which explains Assayas’s entire approach to the film as a pedestal for Stewart and her character: “Is it you… or is it just me”. The phantom thumps a “yes”.

Top 10: Best Movies of 2016

[Inset “2016 was the worst year ever” joke here]

2016 was terrible on many political fronts, but when it comes to cinema, it forces me to look at the best of things that have passed. As I moved to Washington D.C. I was surprised by the solid film culture that exists here. I guess (or at least I hope) that despite any changes in what goes on in the federal buildings of this district, the cultivation of theaters, movie screenings, and film community will continue to grow and offer more.

I look forward in 2017 to start watching more local cinema, created by D.C. filmmakers, reading scripts by D.C. talents and joining their ranks by continuing to film my own stuff. I also look forward to being more selective in the movies that I watch. As the year went on I succumbed to the glitz and glamor of major Hollywood releases, but I’m going to try to make a point to restrict myself to spending money on smaller filmmakers and production companies that really need the money and funding. I’m sure I’ll catch a big release here of there, but it will be less than last year. I’m also curious to see how this plays into the types of films I try to expose through recommendations. I’ve seen my Top 10 lists become more and more focused on smaller non-blockbuster movies as years go by. That trend I will continue, maybe next year I’ll have a list that is strictly geared towards giving exposure to movies you may have never heard of… trust me, that’s a good thing.

Anyway, here’s a list of 10 of the best movies I’ve seen this year of 2016. I also have additions at the end of the page for movies from past years which I watched for the first time this year (if that makes sense). Hopefully this will see some older movies you may not know you love yet.

#1   O.J. Made in America   (dir. Ezra Edelman  –  U.S.A.)

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OJ: MADE IN AMERICA positions itself as a media-on-media critique. It uses interviews, news broadcasts, movie scenes, commercials, sports clips and analysis, and political speeches and reactions to recreate the aura and mythology of its central character, O.J. Simpson.

But the greatness of this documentary is brought forth in its ability to connect the evolution of a nation with the trajectory of one man’s fame, power, and wealth and the American people’s investment in that story. Full review HERE

#2   American Honey    (dir. Andrea Arnold  –  U.S.A.)

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What sets American Honey apart is that it essentially treats seizing the moment as a survival tactic for its protagonists in conjunction with its traditional depiction as a rebellious act of pure free will…. Opportunistic capitalism meets the self-discovering millennial. The entire film rides an electric current that transfers itself directly from Arnold’s camera. The shaky-cam is a technique many have grown tired of, but its wandering, untamed eye captures the imagination of the film’s characters and their surroundings. Their dance circles bumping to trap songs have the aesthetic of a music video. Full Review HERE

#3    I, Daniel Blake   (dir. Ken Loach  –  U.K.)

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The theater was full of heavy sighs, groans, headshakes, and a clear frustration bouncing off the walls from every corner. Everyone left tsk-tsking. I’ve never seen such a vocally frustrated response from an audience for a character and a story. It made it that much harder to shake off Ken Loach’s remarkable and painfully relevant film.

Full Review HERE

#4   Cameraperson   (dir. Kirsten Johnson  –  U.S.A.)

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Constructed from tape Kirsten Johnson has collected over many years of travel and documentation, CAMERAPERSON is the living breathing embodiment of the phrase “a film is made in the editing room”. All of the sequences in the film jump around geographically and temporally making their juxtaposition more jarring and their lack of context daring in making the audience piece together stories of individuals themselves. It’s as educational and personal of a documentary as I’ve ever seen, and its presentation will make almost anyone search and read endlessly about the topics and historical events it showcases… many of them leading to dark and painful places and revealing terrifying truths about our world.

#5   Moonlight    (dir. Barry Jenkins  –  U.S.A.)

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There is nothing better than seeing a filmmaker have his debut film emphatically stamped with his own vision. The best part of Moonlight isn’t that it sheds light on a neglected class of American society, but that it dares to examine and say a good deal about them with a completely unique perspective. Dee Rees’s sadly forgotten parable Pariah did something very similar.

#6   The Hunt for the Wilderpeople   (dir. Taika Waititi  –  New Zealand)

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I have been watching Taika Waititi’s career since his debut Eagle vs. Shark back when I was a junior in high school, and it’s always rendered as very hit-or-miss, with the misses coming more frequently and missing by a lot. He may have won me over however with Hunt for the Wilderpeople, a fun New Zealander’s take on the American mismatched-pair buddy comedy. Its moments of family dynamics, what it means to be a “man”, and an undercurrent of racial disparities between New Zealand’s white and native Maori populations all come under hilarious satirical examination with Waititi’s ability to balance both cultural relevance and popcorn entertainment seamlessly.

#7   Popstar: Never Stop Never Stopping   (dir. Jorma Taccone & Ariel Schaffer  –  U.S.A.)

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Popstar isn’t quite the comedic success that Hunt for the Wilderpeople is, but it manages to play to its central characters’ (Lonely Island trio) built internetz fanbase with hilarious and some cringy moments that make for a light and airy satire on the pop industry’s slow demise into utter ridiculousness. I only wished in addition to the whimsy, the film added a bit of bite the way Eminem’s “Real Slim Shady” track did on this same subject of “pop stardom” 15 years ago.

#8   Les Innocents   (dir. Anne Fontaine  –  France)

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Look here. For all the film critics and viewers fawning over Mel Gibson’s slathering faith-based conundrum Hacksaw Ridge that presents itself with the subtlety of hammering a nail into one’s palm, if you want a truly gut-churning film which both tests and reaffirms belief in a higher power and its place in a world slowly losing hope… look here.

#9   Sunset Song   (dir. Terrence Davies  –  Scotland)

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It’s hard to call the film merely a romantic period-piece because it doesn’t dwell much on its setting or its time-period as a major factor for the relationships of its characters. Yes, there is a war, and its clear its the Scottish country-side, but people can experience what Chris Guthrie goes through in almost any time period. Enduring the abusive relationship with her domineering father, the death of her mother, falling in love, having her loved one changed from the inside-out by war. Davies turns Sunset Song into more a film of human emotion transcending time and place, but the pre-war Scottish countryside adds the nostalgia by channeling a near fairy-tale like setting, but bombarding it with a devastating story filled with every bit of the harshness of real life, but also the warmth.

Full Review HERE

#10   Rogue One   (dir. Garth Edwards  –  U.S.A.)

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There was a lot of noise made about a particular Vox article with an ill-conceived clickbaity title suggesting that this Star Wars film, apart from any of the regular “canon films”, was the first one to acknowledge the “war” part of the Star Wars franchise. Watching this movie proved the article’s meat correct, despite its headline being manipulative. The fact of the matter is, the reason Rogue One resonates with people (me) not really all that enthusiastic about Star Wars movies is that it plays more towards the series biggest strengths, which is the mythos surrounding it and the humanization of its characters to being citizens under distress. Even when Leia’s planet of Alderaan was destroyed, there was hardly an acknowledgment of the weight of such a genocide occurring. It was brushed off as a plot point. We moved on. Rogue One takes the time to, for the first time in the franchise, calculate a loss within each individuals character’s contribution to the fight for a new hope. Rogue One‘s heart is more that of a war movie than it is “space-opera”.  That’s why I liked it better than any of the other ones.

Top Movies From Years Past that I Watched for the First Time in 2016 (in alphabetical order):

  • Babette’s Feast  (Gabriel Axel, 1987)
  • Colossal Youth  (Pedro Costa, 2006)
  • El Sur  (Victor Erice, 1983)
  • From What is Before  (Lav Diaz, 2014)
  • Lady Snowblood  (Toshiya Fujita, 1973)
  • Mumbai Cha Raja  (Manjeet Singh, 2012)
  • My Home is Copacabana  (Arne Sucksdorff, 1965)
  • My Dinner with Andre  (Louis Malle, 1981)
  • Norte: The End of History  (Lav Diaz, 2013)  –  *masterpiece, 2010’s All-Decade List
  • Ratcatcher  (Lynn Ramsey, 1999)
  • Santa Sangre  (Alejandro Jodorowsky, 1989)  –  *masterpiece, 1980’s All-Decade List
  • Shotgun Stories  (Jeff Nichols, 2007)
  • Take Aim at the Police Van  (Seijun Suzuki, 1960)
  • Warrendale  (Allan King, 1968)

The Passion of Joan of Arc : Cinema becomes Art becomes Human

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The Passion of Joan of Arc (Carl Theodore Dreyer, 1928)

I watched Carl Theodore Dreyer’s The Passion of Joan of Arc two times. Once with Richard Einhorn’s “Voices of Light” music score as background, and once with complete silence. Suffice to say, Dreyer’s genius, and the utter emotional churning and heartbreak of Maria Falconetti’s magnum opus performance were resilient and just as evocative regardless of which way you decide to see this film. The Passion of Joan of Arc has many times been recounted as the moment that cinema became art. What was the most astounding aspect of this film was its absolute nakedness. With minimal dialogue, being filmed without music and with zero diegetic sound, there is pure structure, composition, framing, and acting. It is the motion picture at its bare-bones foundation.

Dreyer’s work with Falconetti is the support beam and the cement which this film is built on top of. Each scene is a juxtaposition of Falconetti’s rending pain, hopeful joy, and eternal sorrow with the world around her. As the men of the church do all they can put fear, shame and anguish into her heart, forcing her to recant her devotion to God’s mission, we sympathize on an almost metaphysical level with Falconetti’s Joan. The power of Dreyer’s depiction and his cuts between Joan’s reactions and her surroundings pierces any predisposed belief system we have for or against religion. It is a testament to the craft and film form, that Dreyer’s ability to evoke pain and empathy runs across all ideologies to tie us together and react on the level of a unified human suffering; a suffering brought about through injustice and intolerance. We root for Joan the woman, Joan the human being, Joan the martyr of ideas and beliefs and her freedome to believe. We root against a Church which represses her devotion, a most ironic injustice. All of this, seen and felt through a camera and and editing room. Carl Dreyer, with The Passion of Joan of Arc gave us a film that will transcend through time, unfettered, because it speaks to the basis of human unity, and does so with the most artistic and passionate of visions on screen. This is the power of cinema, so clear even at its earliest stages.