Round 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 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 leaning on one of these objects begin and end 1917. For 10 points, (10[1])Chivo Lubezki’s first film for Terrence Malick is titled for a Biblical one (10[1])of what objects? ■END■ (10[3]0[2])

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