Really, this is not like other films. Read on at The Forgotten.
And — Scout Tafoya takes us through the final installment of The ’68 Comeback Special, in which we have reviewed all (nearly!) of the official entries at the 1968 Cannes Film Festival. This last edition considers Carlos Saura’s delicious-sounding PEPPERMINT FRAPPÉ. Next week, we give out the awards!
…and then I saw LA MATERNELLE, in which the subtitles were so huge they sometimes threatened to explode from the screen and crush the cat. And the subtitlers were forced to pile the lettering up in odd formations in order to fit it into the compositions without obscuring them completely.
More on this fine film later.
Clearly absurd.
This is going TOO far.
Shadowplay