© 2010 by James Clark
With this look at Fellini’s very European, and, in that sense, “old world,” blockbuster, we seem to have departed the land of David Lynch. But our new series, “Old World/ New World,” takes as its focus that “newness” so pungent in the lengthy affair with “fire walk.” And that means continuing to inhabit a precinct cinematically smouldering over a remarkably wide expanse.
In view of this orientation, what may have seemed a limitless source of pleasure and nourishment—the “old” and the “new”—sharpens down to old times and places and new times and places as evincing rare, explosive and indispensable turns of sensibility. This means deleting from consideration contributions from film artists whose craftsmanship and understanding remain an irresistible joy—figures like Jean Vigo, Jean Renoir, Ernst Lubitsch, Max Ophuls, Billy Wilder, John Ford, Alfred Hitchcock, Satyajit Ray, Jacques Tati and Akira Kurosawa—contributions from artists of towering reputation, particularly amongst film academician enforcers—figures like Jean-Luc Godard (with the exception of Breathless and Eloge de l’Amour), François Truffaut, Jean-Pierre Melville, Agnès Varda (with the exception of Cleo de 5 a 7 and Le Bonheur), Claire Denis, Pedro Costa, Jia Zhang-Ke and Apitchatpong Weerasethakul—and contributions from impressively extravagant powers like Sam Peckinpah, Sergio Leone, Francis Ford Coppola, Peter Jackson and James Cameron. (more…)