THANK YOU FOR YOUR LIE: MAX OPHULS

“It is in the four late French films, all of which are mostly centered on women, that Ophuls’s obsession with mobile camera work is allowed its fullest liberty and extravagance. Some find it excessive, a mannerism reveled in for its own sake, but there is generally a justification for what may look like self-indulgence: after all, if for Ophuls ‘life is movement,’ then this constant mobility is the expression of a metaphysic.” — Robin Wood