In the spirit of Greg’s list from yesterday:
1. Meshes of the Afternoon (Maya Deren, 1943)
After college, a friend and I went on a tear, spending our weekends watching everything we could find by Godard, Bergman, Tarkovsky, Kurosawa, others. My friend’s father, a former cinephile who’d seen many of these movies during their initial US releases, occasionally poked his head into the living room, watching a few minutes here and there with us. Then he’d smile and leave, always quietly pronouncing, “It’s good, but it’s no Two-Lane Blacktop.”
While writing my previous post, I grew aware that I wasn’t mentioning any women filmmakers. So I’d like to add something addressing that (because of course one can find numerous examples). And along the way, I’ll also try to say more in general about the power—and limitations—of the long take.