The French New Wave did not invent the idea of exploring a city through the wanderings of a couple—F.W. Murnau suggest as much from the Fox studio backlot in Sunrise: A Song of Two Humans, and Luchino Visconti offered his own glorious fairy tale stroll of Cinecittà’s Venice in White Nights—but that movement certainly provided an invigorating, youthful inspiration to an emerging generation of international filmmakers to orient their cinema to the relationships close to them and to streets they know so well.Thus we see Catalonian director José María Nunes’s 1966 masterpiece Noche de vinto tinto (Red Wine Night), which begins with a young woman distraught when her boyfriend breaks a promised date and, going out into the night, she attaches herself to a failed Romeo. The character of their meeting encapsulates all the oneiric, irrational, partially romantic, partially despondent tenor of the evening of bar hopping that follows,...
- 2/4/2016
- by Daniel Kasman
- MUBI
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