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She feels like a “vessel bearing experience not [hers]”.

For her, reality has changed, and in regards to the film, she is the only one that has changed between the two parallel sequences where time rewinds.

Though Jason and their sons (Giuseppe Gentile) are presented through takes that are actually the same, the takes of Medea are different.

Since they are shown in separate shots, it’s quite easy to imagine that Pasolini simply edited Medea’s parts, so that she would appear uniquely conscious of the fact that the events are recurring.

Laasgenoemde is nie die naam van ‘n plaaslike woonbuurt nie, maar al jare lank ‘n mooi advertensie wat sê dat wol ‘n baie goeie kledingstof is.

Dis gemaklik, absorberend, wasbaar, het min stryk nodig en is ‘n natuurlike, omgewingsvriendelike produk.

This seems to be Pasolini’s intention, however, and not a mistake or example of amateurism even though it might appear as such.

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Through an ascetic visual design, sparse editing, and meticulous framing, Pasolini’s Medea sews together the mystical and the realistical, a notion about life that the Centaur (Laurent Terzieff) first presents. Still long takes matched with still close ups of faces subtly express the story.Dié woorde is in 1963 op die koppie aangebring deur die Nasionale Wolkwekersvereniging en die plaaslike Landbouvereniging tydens ‘n groot Merino Wolfees wat op Laingsburg en op ander dorpe in die land gehou is.

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