In his text Transcendental Style in Film, the critic turned auteur Paul Schrader observed a formal connection between several mid-1900s filmmakers, particularly Yasujirô Ozu, Robert Bresson and Carl Thedor Dreyer. “Transcendental film,” Schrader argues, “seeks to maximize the mystery of existence; it eschews all conventional interpretations of reality: realism, psychologism, romanticism, expressionism, and finally, rationalism.” … Continue reading →