RELEASE stages once again the trivial literary film "topos" of the white woman in front of monster, and does it with relish and with violence (King Kong 1932). But Girardet proceeds in a highly artificial manner. Artificiality, anonymity and fragmentation are elaborated as the characteristics of the subject in a highly dramatic exercise. The image of the subject is defined using precise manipulation as a Dante-like ritual of agonies. His... see more