Poetic of Love (1)

photo_2017-06-09_23-44-24
Cinema, in my view, is a mix of discovering and deviation when concerned with the concept of love. Rarely do the witnesses understand that it’s not just an infinite sexual pervert strife, and never this perverseness would be entirely in conformity with the deviation which exists in the nature of a romantic drama. You may always reach to a challenging radical point throughout watching a fundamental love story when you switch your view from a solo witness to an observer and that’s when you discover how cinema is able to endlessly drown you in a kind of poetic that is so tragic and burdensome.

A list:
Betty Blue (1986, Jean-Jacques Beineix)
Breaking the Waves (1996, Lars von Trier)
La Luna (1979, Bernardo Bertolucci)
The Banishment (2007, Andrey Zvyagintsev)
Guilty of Romance (2011, Sion Sono)
Breathless (1960, Jean-Luc Godard)
The Piano Teacher (2001, Michael Haneke)
Cinema Paradiso (1988, Giuseppe Tornatore)
Love (2015, Gapar Noé)
La Strada (1954, Federico Fellini)
Paris Texas (1984, Wim Wenders)
Once Upon a Time in America (1984, Sergio Leone)
A Short Film About Love (1988, Krzysztof Kieślowski)

From The Ontology of the Photographic Image

Image result for chris marker photography passengers

Andre Malraux has described the cinema as the furthermost evolution to date of plastic realism, the beginnings of which were first manifest at the Renaissance and which found its completest expression in baroque painting.
It is true that painting, the world over, has struck a varied balance between the symbolic and realism. However, in the fifteenth century Western painting began to tum from its age-old concern with spiritual realities expressed in the form proper to it, towards an effort to combine this spiritual expression with as complete an imitation as possible of the outside world.
The decisive moment undoubtedly came with the discovery of the first scientific and already, in a sense, mechanical system of reproduction, namely, perspective: the camera obscura of Da Vinci foreshadowed the camera of Niepce. The artist was now in a position
to create the illusion of three-dimensional space within which things appeared to exist as our eyes in reality see them.
Thenceforth painting was torn between two ambitions: one, primarily aesthetic, namely the expression of spiritual reality wherein the symbol transcended its model; the other, purely psychological, namely the duplication of the world outside. The satisfaction of
this appetite for illusion merely served to increase it till, bit by bit, it consumed the plastic arts. However, since perspective had only solved the problem of form and not of ovement, realism was forced to continue the search for some way of giving dramatic
expression to the moment a kind of psychic fourth dimension that could suggest life in the tortured immobility of baroque art.