Summary

With Istanbul, Martine Rousset puts on the brakes to the world's movement through a cinema of deceleration. At the boundaries between image by image movement and optical fusion, the rhythm of the film gives way to a suspended or floating time. Is it not certain that the idea of duration is more able to render a perception of the city that rather burns for intense emotion. It seems as if the camera cultivates a dreamy half-sleep. To this soft throbbing, blends however, variation of exposure as well. Therefore, at certain times, seeing becomes fragile and dangerous.