It is also moving to think that we have seen so many trees in cinema, most of them were just there, captured but ignored like insects killed on the windshield of a moving car (which is the way most movies treat the real world). Many other trees are used as clichés, either because they receive massive injections of signification, symbolism, or because they are chosen for a spectacular appearance which implies a silent voiceover saying : look how beautiful (or ugly, or cute, etc.) it is ! And then, by suppressing my freedom to elaborate what can be thought, felt, dreamed, from the representation of... anything. Trees are a rich basis to start with, but a human face, a city, the sea, a wall, an eye, the soil, a cat, etc. are also potentially infinitely rich. Jean-Michel Frodon.
Simplificando até ao núcleo terrestre: perder tempo com o real. Ler isto imediatamente após ter vivido La Libertad, de Lisandro Alonso, estava escrito, no vento ou num cinzeiro. Fabulosa entrevista, que me leva a questionar o que eu ando para aqui a escrever sobre filmes.
