the Tempo of Closing Doors
Robert Bresson liked to say that whenever a door closes in a film, the image should remain on screen for a few seconds before we see the next frame. Otherwise, he argued, people might wonder whether or not the door had properly shut. But that wasn’t always how things turned out. If we look at his 1977 film Le Diable probablement, for instance, we see 23 doors (plus three lifts) close over the course of 92 minutes. In only a couple of cases does the camera linger any longer than a split second. In the rest, Bresson cuts straight to the next sequence (and four doors remain mysteriously ajar). In short, Bresson’s words ring true, but he doesn’t practise what he preaches. And therein lies his genius: it’s great to ponder the ins and outs of filmmaking, but it’s best not to go about it too religiously.
With this in mind, we are offering a two-day seminar by filmmaker and programmer Oskar Alegria. A million miles from any magic formulas promised at film labs, the focus here is on working without a blueprint, given that the best Eureka! moments happen when test tubes get knocked over.
This seminar will tie in with the parallel section Satellites: Oskar Alegria, featuring films made or programmed by Oskar Alegria.
- Monday 22 and Tuesday 23 November, 5 pm to 9 pm
- Venue: ECIB
- Standard rate: €100
- Accredited professionals, current and former ECIB students, members of DOCMA, Unión de Cineastas or AMMAC: €80
- For further information and to sign up: email@example.com
- (+34) 932 462 615
- No prior knowledge is required
- The seminar will be given in Spanish
- On-site, in-person seminar*
- * Circumstances permitting