Absence, meeting and filaciones
See the films of Pedro Costa calls the experience cinephile par excellence: A comparative, cross references recall a time when John Ford, or a particular style effect in Jacques Tourneur, a court in Jean-Luc Godard an overlay in Jean Epstein, an atmosphere in Moonfleet (Frtiz Lang, 1955) or the anxious look on the face of a supporting actor in a film by Nicholas Ray ... ancient and contemporary films, classic and fucking. [1]
Adrian Martin This statement perfectly summarizes what is opposite the Opera House Portuguese director bonus. O sangue is a film that consciously and unconsciously gathers inside the ghostly presence the past. The winks and hints that coexist within the fiction and Pedro Costa previously internalized, are a kind of palismpsesto, that works deeper than a mere postmodern game quotes and references reactivated in the manner of Tarantino. What makes the film by Costa is a deeper experience is the perfect living inside of the ancestors with whom the Portuguese director is in debt.
The start of O sangue could well be a final outcome of an entire movie, as if the beginning and end were closely linked. A young man in a desolate landscape looks lost on the horizon, suddenly a hand appears out of the frame and hits him a slap with echoes of Mouchette, a fast reverse shot reveals the man who has encouraged and looking lost the boy. After a few long seconds of silence, a plane at the height of the legs reveals that man has a bag that holds to then be walking. Costa switched to a more open and start a traveling while the man walks in front of the camera leaving behind the boy and his car, while yelling not leave me, what am I going to tell Nico? impassive man answered: That I'm dead. In this first conversation between father and son is clear and one of the main reasons on which the film is structured, the death and disappearance of the father cancer patient and the subsequent sense of orphans who will face the children. The absence and said Philippe Azoury is a prerequisite for adventure. Or maybe that's why sangue maintain ties with movies like Night of the Hunter (1955) Moonflet (1955). Movies where the feeling of orphanhood of their characters triggered a confrontation with an adult world and the consequent maturation. As in the film's two brothers Laugthon O sangue will face enemies and external pressures. The guy (Luis Miguel Cintra) that appears to be the younger brother, Nino (Nuno Ferreira), or both taken from a gangster film noir Frtiz Lang and Jean Pierre Melville, who try to intimidate Vicente (Pedro Hestnes) for tell them where to hide the money they stole his father. Both brothers had just deprived of their liberty, kidnapped and constrained within an adult world for which the only possible solution is momentary escape and flight.
But O sangue is also marked by the romance and the encounter between Victor and Clara (Inés Medeiro) likes of lovers of the night (1949) . A love that emerges in the folds of the planes at their intersection, we do not see birth, but sorry. Jean-Luc Godard said that a good image has a long history behind it and purged of Pedro Costa elliptical style makes your images are loaded unahistoria do not see, of feelings that are not shown but are strongly suggested. Save me Victor says Clara in the street just as she prepared to cross. A request, a request can only be said when there is a complicity, a trust. A meeting that was born of necessity, the urgency, but has an intensity and vehemence of the lovers themselves. A scene with a fragmented Costa bresoniano style and end up with beautiful dissolve on Clara's face, which might well have made Jean Epstein.
The night adventure of young lovers in the cemetery to to bury the body of the father of Vicente and Nino, among graves and tombs, has echoes of Dawn (1927) and Tales pale moon August (1953), a landscape it has some fantastic and illusory, that mixture of love and death, Eros and Thanatos, and the wonderful scene The Quiet Man (1952), Costa probably would agree with Andre Breton when he said: that a certain point of the spirit where life and death, real and imaginary, past and future, the communicable and the incommunicable, no longer perceived as contradictory.
l E Historie beginning of the poem (s) du cinema of Jean Luc Godard was an appropriation of a famous axiom Bresson reservation margin of uncertainty do not go to show all sides of things. Pedro Costa gives his film a sense of mystery and an atmosphere of sleep, which comes from work done extaordinario Martin Shafer in the picture. The images reveal a conflict, opposition internal between white and black, light and shadows, as revealed and hidden, as if Shäfer and Costa huyensen of clarity and maintained that level of uncertainty to which I alluded Godard. This confrontation, constant level, between the light and showing what the shadows hide, immediately leads us to the work of Jacques Tourner, an inescapable reference for all the work of Portuguese which provided its plans for a beautiful and mysterious opacity ambivalence through enlightenment. The puzzle was always in the shadow, in darkness, as Cat People (1942) or I Walked with a Zombie (1943).
O sangue appears in the films of Costa as an orphan work as brothers who appear in it, before it starts its beautification Costa misery. Ranciere aesthetication as a means intellectual territory and visually banal of poverty and marginality is returned to its potential and its rich shareable sensitive. [2] Pedro Costa's debut is a very baroque visually where we can appreciate the taste of Portuguese bias by the planes with the use of ellipses, the fate of the social and affiliations with the past that resonate more buried and hidden in his later works: Jacques Tourneur, John Ford and Robert Bresson.
[1] Martin, Adrian, What is modern cinema?, ed: Uqbar
[2] Ranciere, Jacques, The viewer emancipated ed: Test ellagen
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