A turn-of-the-century period piece, largely without a plot, that takes place almost entirely in a single room — and directed by a man who’s almost as old as the medium within which he works, cinema itself? Of course. Why not?
That protean, motley preoccupation sometimes called film theory has shown many faces over the years. But before today’s engagements with the medium’s correspondence with digital technologies and television, there was auteur theory.