A Zed and Two Noughts (1985)
Country: GB
Technical: col 115m
Director: Peter Greenaway
Cast: Andrea Ferreol, Eric Deacon, Brian Deacon, Frances Barber, Joss Ackland
Synopsis:
Twin zoologists lose their wives in a freak car accident involving a swan, an opera singer and a Bewick, and become obsessed with what happens to organic matter after death.
Review:
Cue plenty of time-lapse footage of decaying apples, prawns and so on, set to Michael Nyman's ever-distinctive music. The cinematography (Greenaway began a long-running collaboration with Sacha Vierny here) is luminous, given that much of it is shot in challenging light conditions, the colours highly resolved. What grates slightly is the arch wordplay and childishly lateral dialogue. Already one could detect a certain misanthropy in the director's cinema, that would reach its apogee with The Baby of Mâcon.
Country: GB
Technical: col 115m
Director: Peter Greenaway
Cast: Andrea Ferreol, Eric Deacon, Brian Deacon, Frances Barber, Joss Ackland
Synopsis:
Twin zoologists lose their wives in a freak car accident involving a swan, an opera singer and a Bewick, and become obsessed with what happens to organic matter after death.
Review:
Cue plenty of time-lapse footage of decaying apples, prawns and so on, set to Michael Nyman's ever-distinctive music. The cinematography (Greenaway began a long-running collaboration with Sacha Vierny here) is luminous, given that much of it is shot in challenging light conditions, the colours highly resolved. What grates slightly is the arch wordplay and childishly lateral dialogue. Already one could detect a certain misanthropy in the director's cinema, that would reach its apogee with The Baby of Mâcon.
Country: GB
Technical: col 115m
Director: Peter Greenaway
Cast: Andrea Ferreol, Eric Deacon, Brian Deacon, Frances Barber, Joss Ackland
Synopsis:
Twin zoologists lose their wives in a freak car accident involving a swan, an opera singer and a Bewick, and become obsessed with what happens to organic matter after death.
Review:
Cue plenty of time-lapse footage of decaying apples, prawns and so on, set to Michael Nyman's ever-distinctive music. The cinematography (Greenaway began a long-running collaboration with Sacha Vierny here) is luminous, given that much of it is shot in challenging light conditions, the colours highly resolved. What grates slightly is the arch wordplay and childishly lateral dialogue. Already one could detect a certain misanthropy in the director's cinema, that would reach its apogee with The Baby of Mâcon.