Shot length might someday be used as a kind of cultural palmistry: American filmmakers favor unambiguous brevity, but for a certain breed of cineaste in Western Europe the syntax of the long, spatially expressive tracking sequence is the way movie time should be constructed. For Mikhail Kalatozov, the whole world captured in a single motion meant our righteous empathies had nowhere else to look; for Miklós Jancsó, breadth and length were ways to understand war. Andrei Tarkovsky's moody setups were metaphysical questions, growing less answerable the longer they became. For Greek auteur Theo... More >>>