quarta-feira, 8 de julho de 2009

His camera is never afraid to assume the point of view of the monster, flying around New York with the winged serpent in Q or crawling through a field of grass as a mutant baby in It's Alive! What is striking about those shots is that by allowing the viewer to see through the monster's eyes, Cohen creates sympathy for his otherwise hideous creations. By intercutting these monsters' points of view with images seen through the eyes of other characters, the director creates an energetic collision of perspectives that recalls the near-anarchic yet masterful cinema of Samuel Fuller.


On a visual level, Cohen's films are always alive with a centrifugal near-chaos. By combining multiple points of view, he denies the viewer a single character to identify with. Cohen's scenes, built up from combinations of hand-held with tripod-filmed images, and static shots with moving shots, are alive with multiple tensions and conflicting perspectives. We see things from all sides, and we are encouraged to think and compare without being led toward any easy conclusions.


Reel Life: the low-budget genius of American film

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