Film Studies
The Selected Letters of Elia Kazan edited by Albert J. Devlin with Marlene J. Devlin
The Little Girl who Fought the Great Depression: Shirley Temple and 1930s America by John F. Kasson
Forbidden Music by Michael Haas & Hollywood and Hitler by Thomas Doherty
A Life of Barbara Stanwyck by Victoria Wilson & Barbara Stanwyck by Andrew Klevan
Ripping Open the Set: French Film Design, 1930–1939 by Ben McCann
Stolen Glimpses, Captive Shadows: Writing on Film 2002–2012 by Geoffrey O'Brien
World Film Locations: Melbourne edited by Neil Mitchell
Cinema by Alain Badiou, translated by Susan Spitzer
Stranger by the Lake is set entirely within the perimeters of a cruising ground for men by the shores of a lake in France. There unfolds a perfectly simple temporal conceit in which the cruiser, a handsome thirty-something everyman called Franck (Pierre Deladonchamps), arrives each summer day, parks his car, and walks down to the pebbled beach by the lake’s edge. That this is a narrative of repetitions becomes clear the third or fourth time we see the sunny establishing shot of the makeshift carpark where Franck parks his Renault. His routine documents almost ethnographically what happens at the cruising ground: he walks down to the beach, greets some acquaintances, takes off his clothes, swims, sunbakes, waits, rummages around in the scrub for sex, then does it all again.
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