In a well-appointed flat, a series of scenes unfolds around the circumference of a room: a man sits on a couch, head resting on his fist as if lost in troubled thoughts; across the room another man crouches over a dark wood chest -- is he doubled over in pain or merely inspecting the valuable antique
David Lynch has been charged with making incomprehensible films. In fact, they make perfect sense, but not necessarily to us. An exemplary scene in "Fire Walk with Me" (1992) shows this: Two investigators are to receive their assignment from a very odd-looking woman named Lil. What they receive from
Jane Campion's lush study of repression, "The Piano," contains an enduring image: high cliffs tower over a deserted beach, waves crashing and rolling upon the cold sand. Deposited in the tide is a black piano, a misplaced presence seemingly dropped from heaven. It is a solitary signifier of humanity
Ellsworth Kelly's monochrome canvases redefine the beauty and drama of the single-color process. Color is the actor on this stage, the figure that transfixes the audience's gaze. These colors and shapes become part of the subconscious of the viewer, who feels the reds, blues, and yellows as emotions.