In the opening scene of Alejandro Cesarco’s five-part black-and-white 16mm film Everness (2008), a handsome young man sits beside a brimming bookcase, discoursing measuredly on the ideas of an unnamed literary thinker. The latter, the figure onscreen tells us, defines tragedy as “the arrival of an enigmatic, supernatural message that the hero fails to fully and timely comprehend… for the person who has to decipher it, it’s a life-and-death situation, something like having to understand a text under a death…
Want to read more?
As an unregistered user you can view 5 articles per month.
You can register free to get a further 15 free articles
and access to 2 digital editions per month
or subscribe for unlimited access
If you have already signed up access you account here