The Intimate Screen: Dogme and Beyond
2001; Linguagem: Inglês
ISSN
2562-2528
Autores Tópico(s)Cinema and Media Studies
ResumoThe cinema is essentially supernatural. Everything is transformed.... The universe is on edge. The philosopher's light. The atmosphere is heavy with love. am looking. (1) Jean Epstein, 1921 you should make films that at your own way of life, your own way of seeing. Dogme can do that. (2) Mikael Olsen, tenured script consultant, Danish Film Institute, 2000 I'm Looking at You, Mary It feels like we've always been together, natural couple, Mary tells the camera in talking-head interview. share this place, the chores, our time--it's easy, she carries on about her boyfriend, Michal, as Minnie Ripperton chirps the song, Loving in the opening credit sequence. Michal's brother is making home movie to document their bliss. Life is treacle for the young couple in Lukasz Barczyk's recent film for Polish television. Mary gets pregnant, so they simply plan wedding. then neurologist Michal is assigned an overwhelming case. A celebrity actor in the middle of shooting new film goes blind, and only because of some kind of psychic blockage. Michal cannot help him, and the man takes his own life. Soon enough we find Michal, in the midst of his wedding, locked away in the bathroom. When all others fail to draw him out, Mary pries her way in. The hand-held camera swerves and peers, gaping down at them in bride and groom clothes, collapsed next to the toilet on the bathroom floo r, the guests banging on the door. I want to give up my career. have to give it up, give it up. It's over, insists Michal. But we're getting married... We're having baby... sighs Mary, in utter bewilderment. Michal slams his head into the mirror and shatters it. Mary holds him and asks the others to leave. The scene culminates the film. And what did the young writer-director tell the audience at the Mannheim-Heidelberg International Film Festival when asked to explain his characters? You have to look. You, me, all of us. We have to around--at everything. Twenty-six-year-old Barczyk, who studied Law and Administration before attending film school at Ledz, made I'm Looking at You, Mary in direct response to his own life experience and that of his friends. As fly-on-the-wall spectator privy to Michal's emotional breakdown and Mary's dismay, felt invasive, guilty, confused, saddened, useless--yet was looking. For what? For precisely the honesty such film could share. And while nothing struck me as supernatural or even spectacular, for those moments, all the universe was on edge, in another light, heavy with love--and was transformed. have not managed to see the film again, but have not forgotten it, just as have not since ceased to ask myself how Barczyk and his group created such piercing intimacy for the big (and the little) screen. For the rest of the festival began to look more intensely, in service of this question, and also looked back with the same scrutiny upon my favorite works from the Los Angeles Latino International Film Festival last summer. Kira 's Reason... It's the pesky filmic details that haunt me, know, because in excess of information, they are superfluous to the logic of the story but at the same time all that matters. They march themselves up there on the screen and bask in their demure power, teasing my independent investigation of what's happening to the characters and to me, indulging my resistance to an answer. And they don't go away... (3) Oddly enough, the digital video camera eggs me on. This is not to mention whole movement in filmmaking known, ironically, as Dogme 95 that has aimed to liberate theories and practices of representation by allowing for the emergence of precise truths in much the same way that photography began by seeking objective reproductions. The dogme consists of ten rigid commandments laid down for capturing reality. (4) The irony consists in the fact that, arguably, the most contagiously inspiring result of these rules is (as was the case with photography) the subversion of their purpose and the achievement of its opposite: a mute ambiguity inviting subjective reverie. …
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