Istanbul
With Istanbul, Martine Rousset puts on the brakes to the world's movement through a cinema of deceleration. At the boundaries between image by image movement and optical fusion, the rhythm of the film gives way to a suspended or floating time. Is it not certain that the idea of duration is more able to render a perception of the city that rather burns for intense emotion. It seems as if the camera cultivates a dreamy half-sleep. To this soft throbbing, blends however, variation of exposure as well. Therefore, at certain times, seeing becomes fragile and dangerous.
Storyline
With Istanbul, Martine Rousset puts on the brakes to the world's movement through a cinema of deceleration. At the boundaries between image by image movement and optical fusion, the rhythm of the film gives way to a suspended or floating time. Is it not certain that the idea of duration is more able to render a perception of the city that rather burns for intense emotion. It seems as if the camera cultivates a dreamy half-sleep. To this soft throbbing, blends however, variation of exposure as well. Therefore, at certain times, seeing becomes fragile and dangerous.