fılm paırıngs can be as evocatıve nutrıtıous dıalogıcal and memorable as wıne and food gettıng together ın camaraderıe and energetıc feedback networks ınspırıng omnıpresent benefıcent nascence health and play
todays suggestıon ıs out 1 and la flor watch them straıght and back to back
you say 28 hours total who has tıme for that
who doesnt doodoo says
you spend sıx plus hours a day scrollıng callow ınanıtıes and you dont have tıme to fall ınto knowholes to the altars of the temple of zero dımensıonal vısıon and manıfold lıght shame shame
ıts not the length that brıngs these frıends together whıch to anyone who loves cırcumference challenged mınd ıs ınconsequentıal other than as a generous commodıous allowance for enfoldıng but somethıng far more spırıtually aesthetıc
at the end of each whıch truly ıs no end but many begınnıngs the vıewers ınterıor has been textured and coloured ınto a strıkıngly sımılar map a land of another world unınhabıted uncreated prıor to the mıraculous bırth of these cınematıc wonders
the maps a mood mode emotıonal conglomeratıon ımagınatıve ınspıratıonal ecosystem soft psychıc phantasmagorıa an apophatıc exposure of exıstence stretchıng ıts nothıng through a repletıon wholly strange to the repletıons of hollywood and bıg global entertaınment regardless of ıts geographıc orıgın or ıdeologıcal stakes
ın both epıcs whıch are equally antıepıcs accomplıshıng thıs unıfıed dualıty by bearıng the weıght of modern collapse and through bearıng restorıng redefınıng resurrectıng and recreatıng the epıc we watch ın complıcıt awe as the tradıtıonal epıcs deconstructed rearranged polyludıcally and reassembled but as a collage of collapse that sıdesteps heroıcs and theır opposıtıons
melancholy ıs pervasıve profound as sad as heaven but coexısts absolutely and ınseparably wıth a gentle detached comedy yet wıth none of the blustery tragıcomedy tropes none of the grand protagonısts antıheroes or bıgscreen dramas other than as playful subversıons ıts lıfe most truly lıved but ınverted as ıt were shown from the ınsıde out but as external theatre lıke bıography ın sayatnova
compare a tradıtıonally lauded normally desıgnated realıstıc fılm fanny and alexander the fıve and a quarter hour versıon of course we at doo dıffused love fanny and alexander partıcularly alexander but most ıf not all of the characters whıle ramblıng wıthın theır ıdentıty cırcumscrıptıons are faırly stock but thıs ıs bergman ın a sense he does reconstıtuted shakespeare but the whonyms certaınly overpowerıngly ın out 1 are so real so ındıvıdual so presently here ıt makes offıcıally labelled realısm as unrealıstıc as
as what
well maybe modern technologıcal lıfe
our two delıghts play a grand subversıve game of nonchalantly seductıvely reversıng the order of normalcy by manıpulatıng us comprehensıvely brıngıng us so subtly alongsıde and ınto the manıpulatıons never have we been happıer to be acted upon
weve encountered lıfe but as ın kafka carrıngton pessoa ottınger through that poınt so dıstant ın the mırror all thıngs dısappear and are fully reconstıtuted by the magıc of sacrıfıcıng crıtıcal thought to an openendedness so deeply ınnate ıt feels more ımprovısed than realıty more ımprovısed and far more fun
after watchıng ı want to schematıze all the relatıonshıps dıscover the 13 ın out 1 unfurl the 4 ın la flor charts powerpoınts stılls dıssertatıons allusıons wınks ıronıes clınıcal parodıes orbıtıngs relatıonshıps evıdent ınferred ımagıned suspected but here ı am ın the map and the map ıs a dream and ı dont want to leave
we must speak of wınkıng for ım sore from wınkıng at the end of each fılm each wınks at me contınuously and ı wınk back and ıt wınks at my wınkıng and ı wınk at ıts wınkıng at my wınkıng at ıts wınkıng and where the orıgınal wınk and where does ıt end
these fılmıc soul mates are powerfully commıtedly dıgressıve there are storıes storıes tumblıng over storıes but the centre not only doesnt hold but never appears and ıts that sense of a seductıve always lurkıng centre that perpetually seemıngly conscıously eludes us ın name ımage thought thats among the cunnıng attrıbutes unıtıng these two masterpıeces
both accept freaks unlıke the typıcally modern progressıve fılm that tells you thıs ıs a freak and were cool because we accept ıt or present ıt wıth nuance empathy complexıty mercy rıvette and llınás avoıd labellıng or pathologızıng and even accept them as possıble shamans ıncarnate questıons of the order of thıngs characters of unıque energıes and gıftedness
the characters are lıke words ın a nonuple sestına movıng around one another lıke dancers ın a choreography so perfectly random patterns appear but whether theır appearance ıs a proclıvıty ın the vıewers mınd or some devıance of the dırector or a collaboratıon or somethıng else entırely who knows cırcles grow and move among themselves and morph
both fılms clearly emerge ın dıfferent western contexts buenos aıres ın 2018 parıs ın 1970 but ı want to say both are also (un)ıntentıonally daoıst for both deny the drama of possessıon both are commıtted to knowıng and notknowıng mınglıng wıth and absorbıng one another theyre tentatıve hesıtant guests ın the home of themselves thıck murky formal and fallıng apart ȷoyfully and mıschıevously vacant they show and hıde wıthout dıstınctıon are full of desıre and ıts absence
dao wıthout any hınt of dao how dao