Sunrise: A Song of Two Humans
For Nestor Almendros, Sunrise is 'a dialectical movie'. Similarly, for Tony Rayns, its 'meaning springs largely from [its] oppositions'. For Dorothy Jones, it 'communicate[s] by establishing significant contrasts'. While these critical views highlight the film's antitheses (a trope that Berman associates with modernity), they stress separation at the expense of continuity (or 'disunity' at the expense of 'unity'). Rather than embrace fixed divisions, Sunrise is a text marked by fluid boundaries - junctions that trace the subtle connection between entities rather than their clear demarcation. It is this complex mode of 'border crossing' (this world of 'Both/And' - not 'Either/Or' [Berman]) that makes the film so poignant, resonant, fascinating and modern.
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