Salvador Amores

Comments

I believe Ernie Gehr’s Still condenses more subtly than any other work the whole of cinema’s aesthetic possibilities. As to the ruling principle of most of the remaining choices, I’ve always felt close to the words that open an old stanza of Louis Zukofsky where he quotes his own son speaking about a little red fox whose paw had been hurt by the quills of a porcupine: "Because he was crying/ I like him most of all."

I would have liked to add La passion de Jeanne d'Arc by Carl Th. Dreyer, De bruit et de fureur by Jean-Claude Brisseau, Max Turnheim by Friedl Kubelka vom Gröller and the entire oeuvre/life projects of Danièle Huillet and Jean-Marie Straub, Jean-Luc Godard, Stan Brakhage and Nathaniel Dorsky.