Page 99 - Cinematic Thinking Philosophical Approaches to the New Cinema
P. 99
Carlos Saura 89
tive ambiguities, than about making explicit the force of the possible and
of the-transformation enabled within such space of undecidability. The
interval between appearing and seeming, the proper "space" of filmmak-
ing, becomes for Saura the space of cinematic poiesis, that is, the space of
being as the "quiet force of the possible," which, exfoliating continuously
revised representations of the past, and thus of the future as it arrives
into its becoming past, keeps evolving new possibilities, a future open for
another, albeit finite, retake.
