Have now dipped into the first part of Kluge’s Nachricten aus der ideologischen Antike, and it’s pretty interesting. Diary entries from Eisenstein concerning his plan to film Marx’s Das Kapital are interspersed with scenes from Potemkin, random other images, and all accompanied by the great Heather O’Donnell on piano. One clearly can’t watch this film all in one go, so I’ve been interspersing it with Volker Schlöndorff’s film of Max Frisch’s Homo Faber. Faber has lost his Swiss character from the book, and become more flippant than alienated, but a young Julie Delpy (this was 2 years before even Kieslowski noticed her) gives a convincing performance as his daughter [oops, spoiler]. More on Kluge later.