Leos Carax: The Ghost in the Limousine: On the Exhausted Soul of Cinema

On the vanishing camera, the shape-shifting body, and a limousine that carries cinema’s last breath.

Mira Solano|February 18, 2026

Giuliana (Monica Vitti) framed against Ravenna’s factories—yellow smoke and grey-painted landscape, colour as pathology in *Red Desert* (1964).

Essay

The Chromatics of Sickness: Colour and Consciousness in Red Desert

Antonioni’s first colour film uses a radical, painterly aesthetic to map the internal landscape of a soul fractured by the brutal beauty of the modern industrial world.

November 4, 2025

Mother (Ingrid Bergman) and daughter (Liv Ullmann) at the piano—Bergman’s relentless close-up turns performance into confession in *Autumn Sonata* (1978).

Essay

The Cruel Duet: On Performance and Pain in Autumn Sonata

Ingmar Bergman’s chamber drama is a devastating psychic autopsy, dissecting a mother-daughter relationship where love is a performance and art is the ultimate alibi.

November 4, 2025

Actress records her final lines in a Leningrad dubbing studio as the crew listens—evoking the body–voice split in Averbakh’s The Voice (1982).

Essay

The Eternal Echo and annihilation in Averbakh’s The Voice

Ilya Averbakh’s quietly devastating final film is a meditation on the space between the dying body and the immortal voice, where art becomes a final, painful act of transcendence.

November 4, 2025