For many reasons, but partly because, unlike some other , he works more than he laments, he created instead of crying about the lack of creation, it shows the movement walking.
I does not, moreover, as Richard Millet himself, I do not know and who may be "on" too whiny attitude that "everything-is-finished-is-too-sad ", typical of old farts. The world is what it is, but it continues to move forward: to what, that's another story, but it is not staying on the roadside to mourn the time that will help to move forward in a good direction.
Funny (almost) all the bloggers that I regularly moviegoers talk Black Swan same time. I deliver a track for what it's worth, the film would be a Hegelian, or hesitate between Hegel and Kierkegaard: is there a positive (or dialectic) of the negative? The negative is equivalent to the contrary he evil? Or, at least, should be exceeded more than dialectical? The film takes its interest I think in a certain irresolution of these difficult questions, and he suffers from some limitations, both in terms of rhythm and style, lack of control those questions completely.
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