MOVED DEEPLY BY DE PALMA'S LATEST, CONSIDERS AS POST-CINEMA, A STEP BEYOND, PERHAPS...?
Over at The 15:17 to Cinema, Collin Brinkmann has posted the most exhilarating piece we're likely to read about Brian De Palma's Domino, discussing the film as an artist's late-period work that is something close to the end of cinema as we know it:
This stranded film may indeed exist on an island within De Palma’s body of work, but if so it is an island of profound importance for the De Palma project, possibly a projection of where De Palma is heading with his art. The accidental nature of the lack of shooting days, or De Palma’s inability to oversee the final mixing and whatnot, can hardly wipe away what seems to me like a reasonably close facsimile of what De Palma originally intended to create, a film that was perhaps intended as a new step forward in his work—a step, perhaps, that goes beyond anything he’s ever done. Beyond in what direction? I have no idea. It is perhaps not beyond but deeper within his own artistic persona, so deep that it can only manifest itself on the surface in Domino’s austere images seemingly stripped of the usual ornamentation one is used to in De Palma. Next to something like Passion, Domino appears almost as post-cinema; compared to De Palma’s recent work it is disarmingly straight-forward, no narrative tricks à la Passion or Femme Fatale, no mystery between dream and reality or anything like that. It is instead bluntly barreling ahead and, I’d say, reaching for a new and deeper understanding of reality and the film image that captures it.
That is just a very small taste-- read the entire thing from top to bottom at The 15:17 to Cinema.