The poetics of decomposition are the haunting, thrilling and, in the case of his latest feature, Dawson City: Frozen Time, historically revelatory stuff of the cinema of Bill Morrison. In varying degrees and across films like The Miner’s Hymn, The Great Flood and Decasia — the latter dubbed “the best film ever made” by Errol Morris — Morrison has made the excavation of lost cinematic images both an informative and sensory-impactful experience. In the new Dawson City: Frozen Time, Morrison both dramatizes and draws upon the discovery of over 500 silent era films found iced and buried in a swimming […]