Reverse Shot A different angle on moving images—past, present, and future

Whether it is a movement or a blip on the radar, All About My Sisters demonstrates a new tendency focused on oral history and memory as a means of retaining or recovering the past.

Rrather than dole out character or narrative information too liberally in dialogue, Sugita uses editing and pacing, especially in exteriors, to help the viewer understand Sachi. Scenes without any clear narrative purpose tend to continue without any legible motivation for surprising lengths of time.

The resplendence of the cave sequences must be seen to be believed, and their ingenuity marks Il Buco as a significant work of digital filmmaking.

Unless the viewer is aware of the overall structure and has a stopwatch, no cut will be expected and each will appear devoid of motivation, at least according to the conventions that govern editing in Hollywood, art-house, and even many avant-garde films.

The new Jia documentary may not have the aesthetic boldness of his best work, but it illuminates the proximity of fiction and nonfiction in his oeuvre and doubles as something of a directorial mission statement, highlighting the role of the artist in writing and preserving history.

By respecting its audience, the film creates space to contemplate aesthetics and representation and indicates that depicting cruelty beautifully need not mean making cruelty beautiful.