Word: viewer
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...viewer tries to understand what goes on in the characters' minds, constantly making asumptions, only to have them shattered by the film's subtle revelations. What we think is a pederast trying to work out his personal obsession turns out to be something completely different. A glance, a word, a silence suffice to make our misconstructions apparent...
Besides being a fascinating and well-crafted annecdote, Exotica is an exploration of desire, loss, betrayal, obsession, and the ways in which people carefully construct reality to make their lives manageable. Egoyan does not present the viewer with a baby-food film, in which the contents are simple, mashed to a pulp, and spoon-fed. He poses questions and exposes searches, which are sometimes pleasant, often disqueting. His is a cinema of investigation, not of morals or simple answers...
Nolde's preference for bright, arbitrary colors hints that dreams and dementia are closely related to reality. As eccentric as his creatures may be, they are beguiling and invite the viewer to escape into a never-ending carnival of unabashed hedonism. In their lush use of brilliant colors, Nolde's works are hypnotic. Nolde often camouflages macabre elements beneath slick colors. The lithograph series of a "Young Couple" (1913) features a red print. Unlike the figures in its green and blue counterparts, the red couple shares a chemistry that is palpably heated and sexual. Nolde's red is so freshly...
Ruscha's works are emotionally and graphically distant from their demure 19th century predecessors. They are linked by photography's challenge: creating image and form out of light and shadow. Chasing Shadows is well-integrated, leading the viewer easily through broad conceptual themes...
...brisk or suave. His 1989 Miracle (also known as The Chinese Godfather and Mr. Canton and Lady Rose), a kind of remake of Frank Capra's Lady for a Day, revels in supple tracking shots, elegant montages and a witty use of the wide screen. An American viewer may find the slapstick interludes overdone, but they are no harder to take than the scenes between dance routines in Astaire-Rogers movies. And it's in his production numbers-those double-time, intricately de-signed ballets of fists and feet-that Chan is unique, as star and auteur...