The Skin of the Frame

Beginning off-screen and beyond then thrusting inward; a movement that forever ruptures the sanctity of the skin of the frame.

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Cool It Carol! (Pete Walker, 1970)

Revelation, here, becomes a varied discovery of both the places you have dreamed about and the failings you fear revealed.


Bronco Bullfrog (Barney Platts-Mills, 1970)

Only the briefest respite offered here because the world just spins too tight and small and slowly for us all.


Lillian Gish – Broken Blossoms (DW Griffith, 1919)

Faces loom and shine here like new stars spied hanging in the night for the very first time every time.Tedesco_Gish_BrokenBlossoms


Bronco Bullfrog (Barney Platts-Mills, 1970)

Bike1Bike2Bike3Bike4Bike5Bike6Few moments in film really capture the sweetness of a freedom at once lyrical, liberating, limiting yet, ultimately, inevitably, lost.


Setsuko Hara – Late Spring (Yasujiro Ozu, 1949)

Whereas elsewhere crescendos will always threaten from somewhere beyond the frame here the space between simple gestures offers alternative volumes.


The Case of the Bloody Iris/Perché quelle strane gocce di sangue sul corpo di Jennifer? (Guiliano Carnimeo, 1972)

The eloquence of this striking sequence is found in the mannered interplay between visual extremity, directed expression and studied response.Iris 1Iris 2Iris 3Iris 4Iris 5Iris 6Iris 7Iris 8