By Dina Pokrajac

Letters have been sent and received since antiquity. But what is the relation of the epistolary practice to cinema? Is every film an open letter inventing its addressee or is it a missive intended for a very specific reader? If the epistle is a form of documenting the past, can it truly capture the exquisite intricacy of its repressed insinuations and remerging indications, or is it merely “rescuing” the banal and otherwise soon to be forgotten fragments of our quotidian?