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Perhaps it's Truffaut's attention to detail that builds so much tangible enotion into his films, The camera seems to skim over surfaces, examine the unattractive angles of people's faces, read street signs. In the car, the camera is riding in the back seat, but as the car speeds up, it's pressed against the windshield. In The Soft Skin, Truffaut expresses a precise emotion with each sequence. Viewers of the film are so often nervous because of the way that Lechenay's gaze flits around, blurring up the scenery, frantically. Then, when Lechenay is with his lover, Nicole, the light is bright, the gaze is steady, the mood is triumphant. In the final scenes, as the cobblestones of Parisian boulevards whizz by chaotically, we are reminded of the suspenseful clues given in Hitchcock movies, and we know what is about to happen. At once beautiful and hilariously observant, Truffaut's expressive visuals make The Soft Skin an inarguable masterpiece.
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