Samuel Beckett’s sole excursion into cinema, Film (1965), a wordless short starring Buster Keaton, suffered from severe over-conceptualization; filmmaker-archivist Ross Lipman’s two-hour “kino essay,” reflecting on the project with interviews, out-takes, and extensive clips from Dziga Vertov’s Man with a Movie Camera, does as well. Although overwrought, it’s a nonetheless fascinating investigation into Beckett’s thinking and dramatic practice.
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