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Manuel Yáńez

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Giò Abate
Gilbert Adair
Alvaro Arroba
Helen Bandis
Cyril Béghin
Janet Bergstrom
Yvette Bíró
Bertrand Bonello
Fabien Boully
Nicole Brenez
Rex Butler
Peggy Chiao
Jean-Pierre Coursodon
Stéphane Delorme
Stephen Dwoskin
Michael Eaton
David Ehrenstein
Thomas Elsaesser
Chris Fujiwara
Ruy Gardnier
Roger Garcia
Charlotte Garson
John Gianvito
Augustin Gimel
Philippe Grandrieux
Eugčne Green
Paul Hammond
Peter Harcourt
Shigehiko Hasumi
Kent Jones
Bill Krohn
Miguel Marias
Adrian Martin
Fermin Martínez
David Matarasso
Grant McDonald
Meaghan Morris
V F Perkins
Douglas Pye
Mark Rappaport
Jackie Raynal
Jonathan Rosenbaum
William D. Routt
Jayce Salloum
Clemente Sobourin
François Thomas
Jean-Baptiste Thoret
Peter Tscherkassky
Johanna Vaude
Apichatpong Weerasethakul
Manuel Yáńez
Andrei Zelitsky



Magnolia (Paul Thomas Anderson, 1999)


This final image from Paul Thomas Anderson's Magnolia has obsessed me for a long time. I had to live with it fixed in my mind so long before I started to understand its true meaning. At the beginning, it was simply the limit between the light of the movie's final frame and the darkness of the credits; between Claudia's tear asking for someone to save her and her smile, the reflection of Jim's kindness. Then, after some time, that frontier point anchored its place in my personal cinephile history - marking in some way the death of an innocent, childlike relation with movies, although that has never been never definitively lost, and never completely recovered. This image was for me a kind of rite of passage, the ending of cinema as I knew it before, and the beginning of a new interaction with images, basically a more analytical interaction. In spite of all this, what is not lost is the hope that like Peter Pan or Superman (as Aimee Mann sings over Claudia's face) a film will come to save me.