I know one fact about this didactic director, Peter Greenaway—that he is a painter—and that is all I need to know. Everything falls in to place. He composes every frame, meticulously, based on the fundamentals of classical design and structure as if any frame could be snatched from the reel and hung at the Tate. This is the art of cinematography, and he is a master.
A summary of A Zed and Two Noughts, or most any Greenaway film would be like briefly describing the Sistine Chapel—and it takes the Big Book to do that. This film is a lesson in dichotomy: life/death, birth/decay, everything and nothing. He reminds us that our own redemption lies in the cyclical aspect of nature and the blending of these universal opposites into the dizzying blur of existence. Read More »