La morte della religione e l'abuso della natura da parte dell'uomo, presentati in maniera surreale, cruenta e del tutto visiva. Uno sguardo nichilista di ciò che in ultima analisi è la vita.La morte della religione e l'abuso della natura da parte dell'uomo, presentati in maniera surreale, cruenta e del tutto visiva. Uno sguardo nichilista di ciò che in ultima analisi è la vita.La morte della religione e l'abuso della natura da parte dell'uomo, presentati in maniera surreale, cruenta e del tutto visiva. Uno sguardo nichilista di ciò che in ultima analisi è la vita.
Trama
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- QuizApproximately eight to ten hours of optical work - rephotographing, visual treatments and filtering - were required to produce one minute of film. The total post-production period for the 72-minute movie was eight months.
- Citazioni
[first lines]
Title card: Language bearers, Photographers, Diary makers. You with your memory are dead, frozen. Lost in a present that never stop passing. Here lies the incantation of matter. A language forever.
- ConnessioniEdited into Marilyn Manson: Cryptorchid (1996)
But after a while (and it wasn't a very long while, either) I just stopped caring. It stopped being worth the effort to struggle to discern the action going on in front of me, to piece the story of even the point of the non-story together, and sitting back and letting the imagery unfold in front of me, sort of accepting it passively for its own beauty didn't seem to work, either.
Some of the shots are beautiful, I'll admit it. And some of them are, for lack of a better word, disturbing. But I spent more of my time wondering "was this shot on film or on video, or both?" or "is that a continuous recording of crickets chirping, or is it a loop?" than "who are they, and why are they doing this?"
Because honestly I didn't care who they were, or why anything that happened on screen happened. I didn't feel any great need to. Half the time I was watching something purely abstract and non-representational, and the other half, what felt like old stock footage that someone had pieced together because they thought it looked neat, even though they had no context for what it was being shown. And it dragged on and on and on, going nowhere except where it had already been, so joy of joys, you get to see a variation on a scene that's already been beaten into the ground a couple times already, and then you get to see it again.
Mercifully, the film did eventually end, with what felt like it was supposed to be a "see, there's the point of all this" series of images, but in order to reveal the point, there needs to be a question posed in the first place, and that wasn't there. Everything just happened sort of matter-of-factly, without any emotional investment to it whatsoever, hoping it would get by on its grossness. Which it didn't. The grossness was deflated by how impossible it was to see what was going on anyway. It wasn't like peering through murk to find something you weren't sure you wanted to see. It was staring straight at the murk itself while it deluded itself that it wasn't something you couldn't bear to see.
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Dettagli
Botteghino
- Budget
- 33.000 USD (previsto)
- Tempo di esecuzione1 ora 12 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.37 : 1