This year’s edition of Sundance concluded yesterday, and, though I saw some films of great merit there, I also found myself thinking about the peculiar cinematic economy that the festival fosters. This was partly because, the day before Sundance ended, I’d taken part in a panel discussion about the great French critic Serge Daney (1944-92), as part of the Film at Lincoln Center’s series devoted to his work. The series celebrates the first appearance in English of his 1983 book, “Footlights”; the book’s translator, Nicholas Elliott, was also on the panel,
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