In Theodor Adorno’s Words “Caught In An Illusory Moment (at Cinema)”

Spiritual nobility of soul and the sense of fraternity have melted together into slogans for the workforce. But every individual product is levelled down in itself as well. There are no longer any real conflicts to be seen.[1] They are replaced by the surrogate of shocks and sensations which seem to erupt from without and … Continue reading In Theodor Adorno’s Words “Caught In An Illusory Moment (at Cinema)”

Silence (Martin Scorsese, 2016) “Last Breaths of Christendom In the Land of the Rising Son”

The first European Christian missionaries landing in Japan… found their hosts totally unprepared for the message of salvation they brought. Not indifferent however. On the contrary, their preaching... though it was radically at odds with native beliefs, it was warmly received… Baptismal waters flowed. Japan might have gone Christian. But it was not to be. … Continue reading Silence (Martin Scorsese, 2016) “Last Breaths of Christendom In the Land of the Rising Son”

Manhattan (Woody Allen, 1979) “Monochromatic Nymph”

It is 1979 and in Manhattan the psychoanalyst is on acid, as well as the editorial staff of a comedy show and most likely half of the town Woody Allen is in love with. At the beginning of the film, his character Isaac talks about the decay of his times in regard to “drugs, loud … Continue reading Manhattan (Woody Allen, 1979) “Monochromatic Nymph”

Late Spring (Yasujirō Ozu, 1949) “Tears at A Noh Play”

There is a certain sadness that permeates Ozu’s films, of the passing of time and an era; of transience, of a time that will be long gone, but needs to be preserved. This is most particularly true for his so-called “Noriko Trilogy”, which stars Setsuko Hara, Ozu’s muse; Last Spring is a part of the … Continue reading Late Spring (Yasujirō Ozu, 1949) “Tears at A Noh Play”