The Thoughts That Once We Had

Name: The Thoughts That Once We Had
Genre: Documentary
Released: June 3, 2016
Duration: 108 min
Rating: 79

2016

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Generally favorable reviews based on 4 Critic Reviews

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Movie Details & Credits

Grasshopper Film | Release Date: June 3, 2016 | Not Rated

Summary: Described in an opening text as a “personal history of cinema, partially inspired by Gilles Deleuze,” The Thoughts That Once We Had from master cinematic essayist Thom Andersen (Los Angeles Plays Itself) is a richly digressive journey through cinema. A found-footage film composed entirely of unidentified, yet often recognizable film clipsDescribed in an opening text as a “personal history of cinema, partially inspired by Gilles Deleuze,” The Thoughts That Once We Had from master cinematic essayist Thom Andersen (Los Angeles Plays Itself) is a richly digressive journey through cinema. A found-footage film composed entirely of unidentified, yet often recognizable film clips and concise intertitles written by Andersen, Thoughts leaps associatively across a vast territory spanning from Griffith to Godard, using dynamically cinematic images and sequences not to explain, but to embody Deleuzian ideas in all their rich ambiguity and nuance. [Grasshopper Film]… Expand

Director: Thom Andersen

Genre(s): Documentary

Rating: Not Rated

Runtime: 108 min

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Critic Reviews

Jeannette Catsoulis

Jun 2, 2016

Even if you don’t recognize the majority of the unidentified clips assembled here, or the quotations that divide and guide them, the fascination they exert is all their own. Read full review

Sam Weisberg

Jun 1, 2016

Andersen's restless yet scholarly methods are contagious: He makes you want to become more well-rounded. Read full review

Jesse Cataldo

May 24, 2016

Thom Andersen attempts to establish unity by effectively bridging vast swaths of film history into one cohesive body of work. Read full review

A.A. Dowd

Jun 2, 2016

At its best, The Thoughts That Once We Had functions like a kind of film-buff mixtape, queuing up one magic moment after another. But the quasi-academic aims of the project mute Andersen’s passion; the director must have felt he needed a respectable framework for his cinephilia, but the personal component often seems directly at odds with the Deleuze component. Read full review

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