*Corpus Callosum (2002)

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*Corpus Callosum (2002)

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If you want "filmic reality" look no further - this almost feels the logical conclusion to Snow's filmography, combining the humor of Diderot, abstraction of Wavelength, and the suspension + manipulation of space and time of La Region Centrale (in this regard it's all the more astonishing that Snow is completing a new feature film). Yet this never remotely feels a conclusion - digital technology precludes that and furthermore clarifies what Snow's modus operandi is: that it is abstraction which reveals truth to us, while the literal is preciously limited. One should note that there isn't a single hard 'cut' in the entire film but rather via digital editing, an unbroken single take - of course it should be unbroken, because while this takes on the appearance of crosscutting between different dimensions of space, there is only a single dimension of time.

There's a lot - SO much packed into this film, it's not easy to write about right off the bat. But what Snow accomplishes with digital manipulation (so, the main step beyond those earlier works, all shot and edited on film) is how the frame bends and folds itself - Snow is not a dialectical artist, he is a philosopher, maybe the only true philosopher in cinema. As though the ultimate Hegelian, it's reality that bends and folds, not the image, and the distortion of even a mirror, mirrors the distortion of the world.

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*Corpus Callosum (2002)

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