<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Therese and Isabelle - vo.rs</title><link>https://vo.rs/tags/therese-and-isabelle/</link><description>Latest from the Therese and Isabelle desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Wed, 18 Dec 2024 11:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/therese-and-isabelle/" rel="self" type="application/rss+xml"/><item><title>Therese and Isabelle: Metzger's Tender Boarding-School Romance</title><link>https://vo.rs/screen/therese-and-isabelle-metzgers-tender-boarding-school-romance/</link><description>&lt;p&gt;Radley Metzger occupied a corner of cinema almost nobody else could reach: the point where the erotic film aspired to the condition of literature, and occasionally got there. &lt;em&gt;Therese and Isabelle&lt;/em&gt; (1968) is the clearest proof of that ambition. Adapted from a censored novel by one of France&amp;rsquo;s most uncompromising writers, shot in luminous black-and-white, structured around interior monologue and memory, it is an art film that happens to concern desire, and a desire film that behaves throughout like art. I want to consider it as film history and craft — how it was made, what it borrowed from the literary avant-garde, and why restraint turned out to be Metzger&amp;rsquo;s most powerful tool.&lt;/p&gt;</description><pubDate>Wed, 18 Dec 2024 11:00:00 +0000</pubDate></item></channel></rss>