This article considers Nancy’s thinking about film in the light of his writings on art in general. Nancy contends that what is so commonly considered ‘representation’ is more properly understood as presentation, even, perhaps counter-intuitively, in the domain of film. Nancy proposes that the principal dynamic in Kiarostami’s exemplary films turns on the regard, the gaze that is not simply looking but even proximate to thinking. The article also briefly considers Claire Denis’ L’Intrus (The Intruder) as a compelling example of a film responding to Nancy’s text of the same name and of his thinking more generally.
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