I had identified CARLOS, SHUTTER ISLAND and CERTIFIED COPY, but drew blanks here on the others. But I now see you can find the answers by just holding the cursor over the pictures! Ha! Amazing what technology will get you!
Anyway, exquisite, top-drawer choices. I do plan on seeing several of these, a few of which are here with your generosity!
Top-drawer stuff. There is something truly powerful about seeing entire films (5 hour long films at that) get reduced to a single still – a fleeting transient moment. But that is precisely how we remember films, their durations amputated and amputated further till they are just memories in passing.
Speaking of CARLOS, there is a remarkable moment right after the screencap here, where Carlos lets out a smug, self-satisfactory smile that I’d missed the first time around. It’s a throwaway treasure – one that is sure to be missed if not observed with surgical precision or if seen in an inferior copy of the film – which presents the elusive Carlos in total nakedness. Wonder how many such moments are there throughout.
It’s a lovely film, Omar, about reaching an absolute dead end and trying to believe that all is well. It’s a film that’s, on many levels, stuck in time, with no way forward or backward, except for a rupture. This image is the last one in the movie – very emblematic as well as affecting for the couple notes the dead end (of the screen, of the movie, of their life) for the first time – but I guess it is equally true that it could have been from anywhere in the movie.
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