Sylvain Chomet’s The Illusionist makes a virtue of restraint
A skirmish has broken out among film lovers. In February this year, Jonathan Romney, film critic of the -Independent, wrote an article in the magazine Sight & Sound about the type of “slow cinema” that is the staple of film festivals these days. This is “varied strain of austere minimalist cinema” that, Romney argued, “downplays event in favour of mood, evocativeness and an intensified sense of temporality.” It’s an approach embodied by the work of the new Romanians, of the Mexican Carlos -Reygadas, of Tsai Ming-liang in Taiwan, Hungary’s Béla Tarr,…
Register today to continue reading
You’ve hit your limit of three articles in the last 30 days. To get seven more, simply enter your email address below.
You’ll also receive our free e-book Prospect’s Top Thinkers 2020 and our newsletter with the best new writing on politics, economics, literature and the arts.
Prospect may process your personal information for our legitimate business purposes, to provide you with newsletters, subscription offers and other relevant information.
Click here to learn more about these purposes and how we use your data. You will be able to opt-out of further contact on the next page and in all our communications.
Already a subscriber? Log in here