by Heinrich Domingo

Cinema and its audience are found in an embattled relationship. The former, as a subjective art, is blunt in asserting its principles and ideologies. The latter, acting like a valued customer, denies to be lectured on what is good and right. Bridge of Spies offers a solution on this problematic partnership. It suggests that films forward their lessons through subtlety. Images are presented like enigmas while the audiences interpret them based on their own reading. Continue reading →