Rousseau’s first full-length feature, and one of the best documentaries/experimental films of the past few decades, sprung equally from Robert Bresson, Michael Snow, and Jean-Marie Straub (who has called Rousseau one of the three best working artists in modern Europe). Again hard places played against drifting sounds from unseen sites beyond the image; the images and sounds, repeated, become inflections of each other. But this time there are historical inflections; Rousseau’s film, like Straub’s, takes place in a sort of meta-history as characters and ancient sites each become products of outside light and shadow.
“The lengthiness of the shot corresponds to this gaze that doesn’t interpret, that doesn’t insist on a motive, but that is a pure vision, as we say, “to have visions.” This goes back to those disorienting moments where someone you’re with seems “out of it,” when his vision’s taken him somewhere else. And when you ask him, then, “what are you looking at?” it’s always the same reply: “nothing.” Suddenly he’s there again, as if the question had broken a charm. That’s what it is to see the image: it’s an absence.” — Rousseau,Lumen in translation
1.06GB | 1h 43mn | 640×480 | avi