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The Great Dialogist

It could be said that a trope of the modern art-house filmmaker is to merely hint at profundity. Indeed, intellectualism in cinema is often marked by a vague impressionism, where less is more. In other words, the less dialogue or discourse a writer/director provides, the more a piece says. Showing someone languidly puttering around a room, ho-humming as they go, can be a good stand-in for the profundity of an existential dilemma; despite the fact one hasn’t been lucidly articulated. Perhaps this is fair. After all, cinema was first and foremost a . . .

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Erik Anderson is a full time thinker and part time filmmaker from the Canadian West Coast. He holds an honours degree in Political Science from Concordia University, and is an MFA candidate in Film Production at York University in Toronto. His mother is originally from Norway and likes to remind him of this constantly...