Encore (Once More)

Conversando com o Mario Fernando Franciscon (tranquilamente uma das melhores conversas sobre cinema hoje em dia) sobre Les parapluies de Cherbourg, eu avanço a hipótese do double bill com Splendor in the Grass, que é uma relação óbvia e, portanto, dispensável. O Mario…

Bruno Andrade

Once More. The project feels intense right away. Vecchiali sets action on artificial-looking sound-stage sets; introduces nudity and other unusual subject matter casually; and partitions the film’s timeline into discrete units marked by time stamps, which format allows…

sallitt

The episodic approach and freedom to flit between what we abbreviate with the name 'realism' and the unreal or hyperreal (from small grace notes to large devices like the group song) is indemnified by the precision of choreography and camera direction. But the camera is…

samwm

"I hope to die from you."

Evan Morgan

“I hope I die from you.”The ontology of progression, movement through space and time, in recurrence and circumstance, all of which are reflected in the form. Vecchiali is capable of creating such fluid, operatic vignettes filled with joy and pain, loyalty and perfidy, pride…

Jerry

Reject the Oedipal family drama and start really living. It’s brutal out there, but at least you’re on your feet. Everything is driven by perpetual movement until one doesn’t have the legs for it anymore. Time and space are simultaneously contiguous and splintered. One…

Brian 🐒

Structurally organized in a manner of conjunction, organic extracts put together coalescing towards a desolating association between love and death. There is a natural luminosity to Rolland's character, the despair inflicted on him and others seem to encrust the film's…

Diogo Serafim

The partitioning of scenes and spaces already happens within each long take, which can glide into a new room or find new characters at a moment's notice. It's as if we are quite literally seeing different movements of a dance succeed one another on the same fixed stage,…

Avalyn Wu

I can’t improve on Sam’s description of the form. As in Corps à Cœur (the one other Vecchiali film I’ve seen), which systematically blurs the demarcations between interior and exterior space, Once More’s camera renders each of its settings extraordinarily elastic and…

Brian 🐒