From the teaching blog:
Korsakow is not great for ‘stories’. It is outstanding for portraits of things. Events, mood pieces, nonfiction. Imagine a narrative about the breakdown of a relationship. Imagine filming that in lots of intense, perhaps ambiguous fragments, imagine exploring this emotional landscape of a marriage in Korsakow. I don’t think this is a story. I do think it potentially is thicker, denser, richer, more evocative than a normal film story. If only because as I return to it I may find new relations, new parts, different ways of understanding the parts. Korsakow lets me build ‘stories’ that reward my attention, care, and return. We aren’t in the business of stories partly because we’re not interested in yet more ways to tell others what matters.