Schlondorff’s “Swan In Love” is a preciously rare example of not just an analytically-critical but analytically-political film. If Raoul Ruiz’s “Time Regained” (1999) is an exceptional example of analytically-critical cinematic discourse (based on Proust’s spiritually intellectual descriptions and deliberations), Schlondorff’s film is wholesomely analytically-political. In other words, it adds to the analytically-critical approach a loud […]