Cinema remains the least understood of major arts. So often film commentaries discuss mostly, or only, the plot. But to begin to understand any film, one must examine it as cinema, shot by shot, edit by edit, in terms of composition, lighting, movement, editing rhythms and juxtapositions, and more, because the way the viewer sees its depictions affects how one feels and thinks about what is shown

“I'll begin with setting up the image…” Greg Gerke reflects on a shot in Carlos Reygadas’s Japón

Jessa Crispin reflects on the 2021 Philadelphia Film Festival.

The view of art underlying the essay, and the type of film that remains my principal, though not only, model for greatness in cinema, have themselves been bypassed by much that has happened since, in particular the emphasis on the politics of an artwork, and on various aspects of the artist's identity rather than complexity of internal form.