Out 1: Spectre Screen 3 articles

Out 1: Spectre


Out 1: Spectre Poster
  • Much as Thomas Pynchon in Gravity’s Rainbow bears witness to mid-century paranoia by turning imaginary plots into real ones and vice versa, Rivette has a chilling way of both suggesting explanations and dispersing them in this monumental, maddening epic. But the world he constructs around his frightening void is a recognizable one: Paris today.

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    Film Comment: Nicholas Elliott
    January 04, 2016 | January/February 2016 Issue (p. 74)

    If Noli me tangere purposefully neglects the conventions of exposition, Spectre is downright reckless... While Noli invites us to witness a melancholy madness that is the hangover of the Sixties, Spectre leaves us no choice but to experience it firsthand. It is the Out we are inside. Yet both films display a radical faith in the viewer, whether by asking us to be patient or to fill in the gaps. For those willing ot go along, the dividends are endless.

  • No matter the running time, each iteration of Out 1 stands as an extraordinary artifact of post-'68, post-utopian paranoia and despair, the dread becoming more spellbinding whenever Léaud's Colin, driving himself mad to decode cryptic messages about a secret society, is in the frame.

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