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No monster, no briefcase: just a person and two hours to change them.
Drama has no cover. No creature in the shadows, no case full of money, no countdown: what is left is a person and the job of changing them in two hours without anyone noticing. Ten films show where you go to find tension when there is nothing to defuse. The first volume looks for it in sight, which is to say in what a character sees or refuses to see, and in the cost of noticing too late. The second looks for it in the structures that assign people a place — a cell, a courtroom, a market, a stairway in a poor neighborhood — and in the part of a person that no place can assign. These are the least showy and most difficult skills in the trade: building a descent in which no step is visible from the top, holding three hours of running time, controlling tone without ever raising your voice.
A wife in a hallway, three men in a room, a door closing: an entire marriage decided in a few seconds and without a line of explanation. Five films built on what a person manages to bring into focus, from the juror who repeats a walk with a stopwatch to the man who no longer trusts his own eyes.
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A young man mops the floors of a university he never attended and solves, without signing it, a problem left on a blackboard. Five protagonists with no enemy to beat, who have to decide what to defend once everything else has been taken away from them.
Also available in:🇮🇹🇺🇸🇫🇷🇩🇪🇪🇸
Two volumes on transformation and on the pressure that produces it. The first works on the protagonist's sight, the second on the place the world has already assigned him. Ten films to learn the hardest thing there is: changing someone an inch at a time, and letting it show only at the end.