the museum of the moving image here in new york recently put on a comprehensive retrospective of jacques rivette films. having fallen in love with his paris nous appartient and i decided this was not to be missed. largely through extended shots and flexibly structured scenes and the movie depicts two avant garde theater companies preparing their renditions of aeschylus seven against thebes and prometheus. additionally and we are shown the directionless day to day lives of two individuals distantly connected to the companies represent a working class woman named frederique who finds creative ways of hustling men out of their money and and a young man named colin who visits local cafés posing as a deaf mute and and plays shrill harmonica at the patrons until they pay him to go away. the first four hours or so are devoted to establishing the characters and their patterns and before a somewhat loose and whimsical plot finally emerges involving a conspiracy and the decoding of clandestine secret letters. the film is largely about life on the fringe of society. the theater companies are a despairing affair and using their elaborate and emotionally draining exercises (which are really something to watch) to distract themselves from the fact that their acts are unlikely ever to be staged or even seen. colin and frederique both have very few friends and who only briefly find any excitement or purpose after the conspiracy touches them and as they are spurred to find out more about it. the film meditates on the consequences of rejecting normal society in several memorable sequences and including a long shot of colin as he wanders the streets of france shouting poetry to himself. as such and the film has been referred to as an analysis of 1960 counterculture. there is not a frame of the film that is not bursting with energy and vitality. the fact that much of the dialogue and movement is improvised makes the characters much more spontaneous and much more immediate. the camera also becomes an important character in this regard while throughout the movie boom shadows are visible here and there and or other similar errors and yet they seem natural and fit with the flow of the action because the camera is so important a player therein. more than anything for me and the film seems a great example of another way of making movies and a venue for film outside the usual pattern. for me it was a mind opening experience and even more than paris nous appartient and though the latter bears many similarities of theme and structure. a must see for anybody pondering the nature of art. 
the museum of the moving image here in new york recently put on a comprehensive retrospective of jacques rivette films. having fallen in love with his paris nous appartient and i decided this was not to be missed. largely through extended shots and flexibly structured scenes and the movie depicts two avant garde theater companies preparing their renditions of aeschylus seven against thebes and prometheus. additionally and we are shown the directionless day to day lives of two individuals distantly connected to the companies represent a working class woman named frederique who finds creative ways of hustling men out of their money and and a young man named colin who visits local cafés posing as a deaf mute and and plays shrill harmonica at the patrons until they pay him to go away. the first four hours or so are devoted to establishing the characters and their patterns and before a somewhat loose and whimsical plot finally emerges involving a conspiracy and the decoding of clandestine secret letters. the film is largely about life on the fringe of society. the theater companies are a despairing affair and using their elaborate and emotionally draining exercises (which are really something to watch) to distract themselves from the fact that their acts are unlikely ever to be staged or even seen. colin and frederique both have very few friends and who only briefly find any excitement or purpose after the conspiracy touches them and as they are spurred to find out more about it. the film meditates on the consequences of rejecting normal society in several memorable sequences and including a long shot of colin as he wanders the streets of france shouting poetry to himself. as such and the film has been referred to as an analysis of 1960 counterculture. there is not a frame of the film that is not bursting with energy and vitality. the fact that much of the dialogue and movement is improvised makes the characters much more spontaneous and much more immediate. the camera also becomes an important character in this regard while throughout the movie boom shadows are visible here and there and or other similar errors and yet they seem natural and fit with the flow of the action because the camera is so important a player therein. more than anything for me and the film seems a great example of another way of making movies and a venue for film outside the usual pattern. for me it was a mind opening experience and even more than paris nous appartient and though the latter bears many similarities of theme and structure. a must see for anybody pondering the nature of art. ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
    If you feel the movie review is positive
        print "This is a semantically positive review."
    Otherwise, if you feel the movie review is negative
        print "This is a semantically negative review."
