Notizie

No matter how much we might want to purge the ideology reflected by and reinforced in Leni Riefenstahl’s films from our cultural lives, her aesthetic influence is impossible to escape.

Every Olympics, NBC’s innovations evolve from common visual goals: allowing the camera to track races more fluidly, slowing down the action to showcase bodies in motion, discovering angles that redefine our way of seeing events.

Everything stems from the grammar established by Riefenstahl in 1938’s Olympia, just as so much of what we view as the aesthetics of political power finds a template in her 1935 Triumph of the Will. But in acknowledging these connections, we’re constantly forced to wrestle with the same questions concerning what Riefenstahl knew or didn’t know about the regime and the messages she was putting on film, and the degree to which her art can be separated from the service she put it to.

Dimitri de Clercq on You Go To My Head: “A lot of the scenes are shot at the Malick hour, dawn or dusk.”

Delfine Bafort and Svetozar Cvetkovic star in Dimitri de Clercq’s quietly disturbing, beautifully framed You Go To My Head, shot by Stijn Grupping in Morocco. His first directing experience was working with Alain Robbe-Grillet On The Blue Villa (Un Bruit Qui Rend Fou) after producing Ray Müller’s The Wonderful, Horrible Life Of Leni Riefenstahl (Die Macht der Bilder: Leni Riefenstahl) and Mathieu Kassovitz’s debut feature Café au lait.

Svetozar Cvetkovic as Jake and Delfine Bafort as Kitty in Dimitri de Clercq’s You Go To My Head

You Go To My Head smartly bookends with Chet Baker songs. Catherine Breillat’s longtime editor Pascale Chavance is thanked in the end credits.

Imagine a man...