Notes on Badlands

By Tyler Patterson

Certain films seem to exist outside time. They’re so enchanting that they suspend time’s steady march forward. Even after the ending, they leave the viewer feeling less like they just watched a movie and more like they traveled to another place. They create a world so enduring that it lingers and lives in the viewer long after its life on the screen. This has more to do, perhaps, with the mood–an inexplicable aura–of the film than any narrative elements. If these qualities were used as a sort of litmus test for the longevity of a film, then Badlands, Terrence Malick’s first feature-length film, would succeed wildly.

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Cléo from 5 to 7

By Natalie Jones

Cléo from 5 to 7 (1962) epitomizes the “ticking-clock” film, but, unlike most of these films that accelerate toward their narrative destinations, you’d never know from this film’s leisurely pace that time is quickly running out for the protagonist. Shots linger until the characters are eventually instigated into motion, a drive in a taxi extends for several minutes, and a character makes unwavering eye contact with the camera while she sings a song in its entirety. Rather than bluntly reminding the audience of quicksand funneling through an hourglass, Agnès Varda’s steady direction causes the presence of death to eventually loom in the background of both Cléo Victoire’s (Corinne Marchand) and the viewer’s mind. Over the course of ninety minutes, Cléo undergoes a slow transformation from hopeless stasis to renewed optimism as she allows herself to live with the recognition of her impending death.

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