An image that will now be permanently (wondrously) imprinted on my memory, Still Dots #38 captures a particularly bizarre moment at the Casanova Club (or maybe it’s simply business as usual in this establishment). The Casanova Club offers a swanky refuge from the scarred postwar streets of Vienna, a sort of five-star oasis of stiff drinks and fine dining (they don’t even accept Holly’s army money…

Today’s frame puts us, for the first time thus far into our experiment, at the very end of a scene. Instants from this frame’s moment, a quick dissolve will take us out of the space of the British/Russian police headquarters and back into the seedy streets and nightclubs of black market Vienna. The old phrase has been reworked as, “It’s not over until the scowls.” As Matt deftly unearthed last…

With the police detainment of Anna Schmidt, she and Holly Martins became separated for the first time since they’ve joined forces (or, maybe more accurately, since Holly roped Anna into tagging along for his investigation). While Anna paces the military office of Major Calloway, cutting slightly angular paths through a succession of canted frames, Holly is once again playing the Lone Vigilante…

On Tuesday, Jeremy described the home of Dr. Winkel (that’s vink-el) as “tchotchke-stuffed”; even Holly himself disparagingly notes that the good doctor has “quite a collection of…collection.” Holly is in Winkel’s apartment following up a lead: he’s learned from Anna the name of Harry’s former doctor, who (according to various testimonies) just happened to be strolling by at the time of Harry’s death. A…

Again we are thrust into a new space. After miring ourselves in the world of Baron Kurtz and the inside of Anna Schmidt’s apartment, the story seems to be suddenly picking up speed. We will soon be popping in and out of Vienna spaces at an alarming rate. Today’s frame shows Holly taking his first few steps into the tchotchke-stuffed apartment of Harry’s Doktor Winkel. Holly has spent the first…

We’re no longer trapped in Anna Schmidt’s apartment with a bombardment of police officers, but Anna’s nightmare continues nonetheless: she’s been detained at police headquarters by Major Calloway while they pore over her personal belongings. Interestingly, the cut from the previous scene (set at Anna’s apartment building) to this one does not initially offer us an establishing shot of the new…

We find ourselves still mired in the police-infested apartment that we have been stuck in for the last three frames. Here we find ourselves in the eye of the cop-storm. Holly and Anna have retreated into some dark corner of the apartment (the tea kettle in front of Anna says “kitchenette”) for a brief moment of privacy, and the only MP visible is a fuzzy figure whose white helmet could seemingly…

From the standpoint of a film enthusiast, the story of The Turin Horse, Béla Tarr’s fateful and fabled final film, began last year at the 61 Berlinale where the film premiered and won both the Silver Bear and FIPRESCI Prize. Critical praise poured over the film, as did the lament for a filmmaker putting a self-imposed cap on his output. But behind the scenes in Berlin was a small but mighty…

Our thirtieth still from The Third Man immerses us in a moment of visual pandemonium: so many human figures are clashing with each other directionally and compositionally that it just seems like a throng of people have wandered aimlessly in front of the camera. If we were to chart each individual’s eyeline in this shot, we would have a messy grid of disconnected angles, visually conveying a…