Party Girl...
Radical in her passivity. Notice how this runs against the grain of the usual romantic protagony.
How disappointments grow entwined with a life. The making of a certain woman -- through a gallery of melancholy poses.
A woman who must be visible to her court.
Broken Glances at the camera.
The superficies, the wealth of visual detail, the Antonionian concern with stuff, builds until we wonder what exactly the point is.
To shut out the world.
This movie was baffling before the "recession". Now everyone is a bit of a Marie Antoinette.
The author recognizes the throttling density of the superficial world, but does not deplore it. She thinks it's "sad" when the nice -- the beautiful things -- are violently broken.
But the author also finds this Resignation noble.
Sofia, in her own weird (& expensive) way, has paradoxically made a film
as austere in its images and emotions as Rohmer's.
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