Packet 6: Tossup 12

In a 1965 film, the camera repeatedly focuses on one of these objects each time it pans from left to right to depict a carpenter changing his dancing partner from his wife to his mistress. Agnès Varda joked that Le Bonheur (“luh boh-NURR”) is about these objects, because “men behave (-5[1])like” them. (-5[1])In The Conformist, Vittorio Storaro’s camera pans right (-5[1])once the bumbling agent Manganiello sits down, so that one of these objects obscures him. In a long Sven Nykvist shot from The Virgin Spring, Max von Sydow’s Per (15[1])Töre (15[1])wrestles one of these objects to prepare for his (*) revenge. Crane shots that track these objects end The Sacrifice and open Ivan’s Childhood, thus (10[1])bookending (-5[1])Andrei Tarkovsky’s career. For no apparent reason, Roger Deakins’s camera slowly dollies towards one of these objects early in Prisoners. Shots of Schofield (10[1])leaning on one of these objects begin and end 1917. For 10 points, (10[1])Chivo Lubezki’s (10[1])first film (10[1])for Terrence Malick is titled (10[1])for a Biblical one (10[1])of what objects? ■END■ (10[4]0[2])

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