After the death of Danièle Huillet in October 2006, not only an unusual couple in the history of cinema disappeared, but a significant part of this History. Pedro Costa's portrait of Jean-Marie Straub and Danièle Huillet during the editing of the third version of their film Sicilia! It is also that of the vindication of a certain morality manifested in the capital importance of cutting a shot in the right frame. As Godard said, perhaps the only great problem in cinema is where and why to start a shot and where and why to end it. It was, after all, Godard who said that this beautiful portrait was “the best film about cinema and editing ever filmed.”
https://dvdstorespain.es/en/films/35542-cofre-cine-de-nuestro-tiempo-2-dvd--8436040100417.html35542Cofre Cine De Nuestro Tiempo 2 [DVD]<div id="productDescription" class="a-section a-spacing-small"><br /><p><span>After the death of Danièle Huillet in October 2006, not only an unusual couple in the history of cinema disappeared, but a significant part of this History. Pedro Costa's portrait of Jean-Marie Straub and Danièle Huillet during the editing of the third version of their film Sicilia! It is also that of the vindication of a certain morality manifested in the capital importance of cutting a shot in the right frame. As Godard said, perhaps the only great problem in cinema is where and why to start a shot and where and why to end it. It was, after all, Godard who said that this beautiful portrait was “the best film about cinema and editing ever filmed.”</span></p></div>https://dvdstorespain.es/598896-home_default/cofre-cine-de-nuestro-tiempo-2-dvd-.jpg7.3554instockIntermedio7.35547.3554002017-06-08T11:19:11+0200/Start/Start/DVD/Start/Films/Start/New/Start/EVENING SP 70/Start/VELADA DE 80/Start/VELADA FR 80/Start/VELADA IT 80
After the death of Danièle Huillet in October 2006, not only an unusual couple in the history of cinema disappeared, but a significant part of this History. Pedro Costa's portrait of Jean-Marie Straub and Danièle Huillet during the editing of the third version of their film Sicilia! It is also that of the vindication of a certain morality manifested in the capital importance of cutting a shot in the right frame. As Godard said, perhaps the only great problem in cinema is where and why to start a shot and where and why to end it. It was, after all, Godard who said that this beautiful portrait was “the best film about cinema and editing ever filmed.”