Every Ingrid Bergman close-up is planetary, so cuts establish a cosmic distance between them and the next shot.

The film is about closing this distance.

‘Vertov is a kind of kindred spirit who I didn’t know’

Fun film to watch in the company of your friends you play ping pong with, but really has me thinking that Hollywood movies are rarely beautiful these days. Any Cassavetes/Safdies comparison remains nonsensical, for JC the handheld camera and the editing fragment real space and real people, in Marty every shot and cut just serves to rapidly move from one thing (a symbol, a characterizing vignette, whatever) to the next — an assembly line of functional images.