Philippe Collin’s The Last Days of Immanuel Kant from 1996 follows the philosopher as he’s anticipating his death, "yet it’s a physical comedy filled with neo-slapstick intimacy—one of the rare cinematic heirs to the works of Jacques Tati and Buster Keaton."
Ultimately this is a movie about the body winding down while the mind is fully ablaze.
Read more: The New Yorker
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