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Uploaded on Jul 3, 2007
"Akerman's framing and panning are as severe as in her previous films, yet the duration of her shots is lighter, more elastic, reflecting the ephemeral feel of the passing fancies she captures -- a notion expressed in the closing passage with sublime consequences for Tsai Ming-liang and Claire Denis, Clément dreamily swaying with her lover through a reverse tracking-shot down a corridor while in the soundtrack their romantic Italian chanson battles it out with the disembodied honking of cars implacably ushering in the early morning, and reality." Fernando F. Croce