By Joshua Clover
From Amazon: "The Matrix (1999) used to be a real end-of-the-millennium motion picture, a press release of the yank Zeitgeist, and a diagnosis for the way forward for big-budget Hollywood filmmaking. Starring Keanu Reeves as Neo, a working laptop or computer programmer reworked right into a messianic freedom fighter, The Matrix blends technology fiction with conspiracy mystery conventions and outlandish martial arts created with groundbreaking electronic options. A box-office triumph, the movie was once no populist confection: its blatant allusions to intellectual modern philosophy extra to its attraction as a secret to be decoded. Joshua Clover undertakes the duty of interpreting the movie. studying The Matrix's electronic results and the way they have been completed, he indicates how the movie represents a melding of cinema and games (the maximum advertisement probability to have confronted Hollywood because the introduction of tv) and achieves a hybrid type of immersive leisure. He additionally unpacks the movie's references to philosophy, exhibiting how The Matrix finally expresses the obstacle American tradition confronted on the finish of the 1990s." Joshua Clover, writer of award-winning e-book of poetry Madonna anno domini (1996) and plenty of different works, is affiliate Professor of Poetry and Poetics on the collage of California, Davis. He writes on artwork and politics for the Village Voice.
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Additional resources for The Matrix (BFI Modern Classics)
But if it can be said that there is a gl'eatest sequence in Bresson, it may well be the final section of his final film. The entire film leads up to it, of course, but it's no disservice to Bresson to say that he nevel' filmed anything quite so penetrating, so psychologically acute, so disturbingly perched between gl'ace and damnation as the final twenty-thl'ee minutes of I',Argent. 71 72 8FI MOOERN CLASSICS The Ending The prison door swings open, and Yvon waJks out, his belongings in two canvas bags, one hanging over each shoulder.
How much time has passed before the following shot, ofYvon walking down the stairs ayer the body of one of his murder victims? In The unnamed woman at the heart 01 the film L'ARGENT it doesn't matter. He goes to a sink to wash his hands, and Bresson cuts to a close overhead angle as the clear water starts running red and then goes clear again. Yvon wraps up his bloody pants and carefully places them in his bag before snapping it shut, fastens his belt buckle, steps behind the counter, opens two drawers and empties them of their cash (again, in close-up).
Psychology may be the last stop on Bresson's aesthetic and moral itinerary, but he certain]y betrays a profound understanding of it here - there's a whole biograpby of a family woven into these brief scenes. \'Vhen Yvon tells the woman that she should up and ¡eave, that her family treats her horribly, she corrects bim: '1 can't reach him,' she says of her father, 'he started drinking wben l11Y husband died. Then he lost all his pupils. ' It's easy to hear the cries of 'enabler' and 'dysfunctional family', but Bresson gets so deep inside the mecbanics of the situation that such labels seem meaningless.