"Art shouldn’t offer answers, only questions," filmmaker Michael Haneke stated in a recent interview. Not exactly a surprising declaration from a provocateur of his stature, but it is an imperative that modern cinema largely lacks. Shane Carruth, however, is the embodiment of Haneke’s edict. His first film, 2004’s Primer, was a Byzantine tangle of time travel schemas, replete with attendant ethical quandaries. His newest film, Upstream Color, raises the stakes significantly in its sheer visceral impact. (via Upstream Color (ERBP) | Under The Radar)

"Art shouldn’t offer answers, only questions," filmmaker Michael Haneke stated in a recent interview. Not exactly a surprising declaration from a provocateur of his stature, but it is an imperative that modern cinema largely lacks. Shane Carruth, however, is the embodiment of Haneke’s edict. His first film, 2004’s Primer, was a Byzantine tangle of time travel schemas, replete with attendant ethical quandaries. His newest film, Upstream Color, raises the stakes significantly in its sheer visceral impact. (via Upstream Color (ERBP) | Under The Radar)

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