Fino all'ultimo respiro

Charles Taylor

You could watch Jean-Luc Godard’s 1960 “Breathless” — one of the most seductive films of the French New Wave, here in a fully restored version — a hundred times and see something new every viewing: a shot framed in a way you had never quite parsed before, or a jump cut that simultaneously, weirdly, both truncates time and elongates it.
Jean-Paul Belmondo’s Michel is a cool, clever car thief, in deep trouble after shooting a cop; Jean Seberg’s Patricia is the woman he’s in love with, a mortally charming young American whose innocent blond pixie-cut caps a brain that’s always calculating, teasing. [...]

di Charles Taylor, articolo completo (1658 caratteri spazi inclusi) su The New York Times 9 settembre 2007