en
Boeken
Bert Cardullo

Regarding the Cinema

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    e must simultaneously put us outside his characters to show their errors and inside them so that we do not dismiss them as fools.
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    Scenes are related in his films, not by causality or in order to create a crisis, but as illustrations of a state of being.
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    tries to inject the bracing truth that, from start to finish, life isn’t very dramatic after all.
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    Continually awaiting an answer to, or a satisfaction of, their deepest needs, they are nonetheless always disappointed;
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    like to suggest that the fundamental way, conscious or not, in which we determine the quality of a film is by the degree to which the re-experiencing of ourselves coincides with our pride, our shames, our hopes, our honour.
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