Por qualquer razão, achei que isto era apropriado para um dia 29 de Fevereiro.
The shadow of cinematographer Charles L. Bitsch and his camera, briefly visible during a dolly shot in Jacques Rivette's Paris Belongs to Us (1961). Hardly a "material object," you'd say, but Rivette's plots are often about the blurred line between the non-existent and the totally tangible, and, like one of his barely-there conspiracies (such as, well, the one in Paris Belongs to Us), the shadow cast by Bitsch beckons to be interpreted in paranoid, metaphorical terms. (...)
|Betty Schneider e Giani Esposito em "Paris Nous Appartient", de Jacques Rivette.|