Tag: Cinema
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Paul Atreides: Seer of the Holy War
In Denis Villeneuve’s Dune: Part One, under the influence of melange, spice which can be found only on Arrakis, Paul sees the visions of a holy war, and in shock, tells his mother: “It’s coming. I see a holy war spreading across the universe like unquenchable fire. A warrior religion that waves the Atreides banner…
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Religious Manipulation and Political Power: the Case of The Oracle of Delphi and Bene Gesserit from Dune Films
“The Delphic oracle, which for modern poets – Yeats, for example – can conjure up mystic romantic visions, was for Sophocles and his audience, a fact of life, an institution as present and solid, as uncompromising… as the Vatican is for us. States and individuals alike consulted it as a matter of course about important…
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The Chaos of the Stars in Werner Herzog’s “Heart of Glass”
Hias, the prophet, speaks: „ I look into the distance, to the end of the world. Before the day is over the end will come. First time will tumble, and then the earth. The clouds will begin to race, the earth boils over; this is the sign. This is the beginning of the end. The…
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Black Horse [Poem from the Yet Unpublished Book of Verses]
![Black Horse [Poem from the Yet Unpublished Book of Verses]](https://vigouroffilmlines.com/wp-content/uploads/2022/06/black-horse.jpg?w=1024)
Black horse in golden chains/ in the middle of the main square lies…
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Princes and Kings Gazing at the Stars in “The Leopard” and “The Lord of the Rings”
The soul of the Prince reached out toward them, toward the intangible, the unattainable, which gave joy without laying claim to anything in return; as many other times, he tried to imagine himself in those icy tracts, a pure intellect armed with a notebook for calculations: difficult calculations, but ones which would always work out.…
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Yukio Mishima on Visconti’s “The Damned”: Dangerous Decadence
In its Wagnerian manner, its German grotesquerie, its transvestitism, its nervous insanity, its ponderousness, its symphonic sense of psychological danger, its worship of the body, its unceasing dramatic tension, its excesses, its obsession with hurling every single character toward tragedy and death, its ostentation, its sensuality, its love of ritual and ceremony, its intoxication, and…
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Norte, the End of History (2013): Lav Diaz’s Take on “Crime and Punishment”
The film title refers to the Philippines’ northern province Ilocos Norte, where Diaz’s film takes place. In this way, the narrative has a specific locus, it is, at least provisionally, a hint that it is bound to the territory and the nation of the Philippines. In many ways it is, but in many more, it…
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In Federico Fellini’s Words: Movies = Dreams
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It’s a language made of image. And in the real cinema, every object and every light means something, as in a dream. Federico Fellini…
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In Michael Haneke’s Words: Hidden
“I like the multiplicity of books, because each book is different in the mind of each reader. It’s the same with this film – if 300 people are in a cinema watching it, they will all see a different film, so in a way there are thousands of different versions of “Caché (Hidden)”. The point…
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In Béla Tarr’s Words: Evolution in the Understanding of Art, Life and Cinema
“At the beginning of my career, I had a lot of social anger. I just wanted to tell you how fucked up the society is. This was the beginning. Afterwards, I began to understand that the problems were not only social; they are deeper. I thought they were only ontological and when I understood more…
Vigour of Film Lines 