There is almost no speaking for the first 35 minutes of the film.
That is the story. There is no car chase. No dramatic confrontation. No cathartic reunion. Two-thirds of the film contains almost no dialogue. The primary "action" is looking—intense, unbroken, voyeuristic gazing. in the city of sylvia 2007
Éllir sees a woman with long, dark hair climbing onto a tram. He sprints, boards, stands behind her. The tram moves through the city. He smells her perfume? He cannot decide. She exits. He follows. She enters a bookstore. He waits outside. She emerges, walks home, enters a building. He stands on the sidewalk, frozen. The door closes. He realizes: Even if this was Sylvia, what would I say? He walks away. The camera stays on the closed door. There is almost no speaking for the first
José Luis Guerín’s In the City of Sylvia (2007) is a masterclass in "slow cinema," functioning less as a traditional narrative and more as a sensory exploration of memory, desire, and the act of looking. The Premise of the Gaze No dramatic confrontation
There are legitimate uses for offshore companies and trusts. The inclusion of a person or entity in the ICIJ Offshore Leaks Database is not intended to suggest or imply that they have engaged in illegal or improper conduct. Many people and entities have the same or similar names. We suggest you confirm the identities of any individuals or entities included in the database based on addresses or other identifiable information. The data comes directly from the leaked files ICIJ has received in connection with various investigations and each dataset encompasses a defined time period specified in the database. Some information may have changed over time. Please contact us if you find an error in the database.
There are legitimate uses for offshore companies and trusts. Read more