Word: feare
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Dates: during 1960-1969
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...yourself before you can help the species be happy. All else is a confusion and death. Our symbolic means of communication sprang from confusion, not peace. I think symbols often create further chaos. Think of the Neanderthal. Communication by lovely wave-lengths and perhaps, as you mentioned, faith. No fear, no chaos. Perhaps it works that way." His voice trailed...
...more alive for me in photographs. Maybe that is sick, but I feel more free to look closely at her then. I have more time to look. At times I fall through her eyes and out darkness is no longer divided. Then we live in one great fear which is akin to love. The collection of photographs is an attempt not only to record but to incorporate the seven years of her life. I realize it is a failure. One photograph, when the time is right, is the complete record and the essence, while the collection is a meaningless shamble...
...come right out and say he's tried but he hasn't tried hard enough. You have to live with the silent assumption that you fuck him and you have to pretend you're both making the best of it. Her greatest fear is that it is love making instead of fucking. She figures any animal must fuck, so he's tolerated for that. It is making love he gets hated for. And Nathan, or course, does neither. What he does is take you out to lunch and drink. What he does is tell you what an excellent secretary...
Cornfield transforms this rather ordinary premise into a kind of vision of surreal violence. Working closely with Cinematographer Willi Kurant, he creates an autumnal landscape, heavy with fear, that is the stuff that nightmares are made of. From the subdued hues of a beach at dawn to the bleached neon whiteness of a bathroom, colors serve both to establish the mood of each scene and underscore the precisely orchestrated tension. The film's ambiguous ending, which puts a parenthesis of fantasy around the action, may at first seem facile. On reflection, however, the viewer finds that a whole...
...Shame is a dream, it's still far from the nightmare of Hour of the Wolf, for there we watched a man at war with himself; here it's men at war with each other. And while the end of Hour left us with nothing but cold fear, Bergman at least chooses a hopeful literary device for his final symbol in Shame, when Eva describes her dream: "I was watching a wall with a rose--then an airplane came and set fire to the rose. But it wasn't awful because it was so beautiful." According to medieval legend...