Quote:
I threw up a metal ball again and again.
Tossing up a metal ball again and again along the river, in the streets, or on a train I shot this film frame by frame like an animation.
Here comes ‘a little planet’, like a Zen question asking you what it is that you see.Read More »
Quote:
The film is characterised by atypical landscape shots, with views of nature being distorted without technical effects. Close-ups, details and overhead shots without a horizon create an impression of flatness. Flora and fauna are transformed into graphic elements through symmetrical reflections.
‘Fischfang in der Rhön’ is reminiscent of Ella Bergmann-Michel’s experimental landscape photographs on the one hand and her collages on the other, in which she layered coloured transparent papers on top of each other.Read More »
Short by Jun Miyazaki.Read More »
Silently, a woman wakes on a beach as the tides go in reverse. Her dreamscape unfolds as she tries to locate a chess piece traveling from the beach to a party to a country road and then back.Read More »
“Umi no uta” takes place in a rural Japanese fishing village, where the inhabitants perform ancient ceremonies by which they prey for the spirits of old boats set to burn.Read More »
Quote:
Picking up where Lives of Performers left off, Rainer’s second, landmark feature tells the story of a woman whose sexual dissatisfaction masks an enormous anger, with Rainer needling at questions raised by contemporary feminism about the relationship between the representation of romantic clichés and sexual repression. Borrowing techniques from soap opera, the formally fractured yet exuberant Film About a Woman Who… combines voiceover, intertitles, simulated “still” images, and dinner-table discussions to provocative, often contradictory effect. Long silences and Babette Mangolte’s fluid black-and-white images only heighten the darting, doubt-ridden, highly dislocating drama.Read More »
letterboxd:
The psychosexual drama Yoji, What’s Wrong With You? examines the identity of women as mothers in Japanese culture, through an Oedipal narrative of a skewed “family romance.” When Yoji announces to his mother that he wants her to meet a new girlfriend, the mother’s jealousy destroys the relationship. Idemitsu’s signature device of using a television monitor within the domestic space works as a powerful metaphor for the ubiquity of the mother in Yoji’s psychological life. Idemitsu’s melodramas always articulate a double-edged irony: With no identity outside of her maternal role, Yoji’s mother fastens onto her son, ultimately destroying him. Yoji himself is seen as emotionally stunted, unable to leave his mother or experience love for any other womanRead More »
letterboxd:
HIDEO, It’s Me, Mama is a psychological melodrama that introduces narrative and structural devices that are integral to Idemitsu’s work. Exploring the flawed universe of the contemporary Japanese family, she focuses on a woman’s identity as mother through mother-child and husband-wife relationships. Hideo, a young man living away from his parents, is kept under constant surveillance by his doting mother via an omnipresent television monitor. In a cogent metaphor for familial relations in the media-saturated culture of contemporary Japan, Mama can only communicate with her beloved, absent son through the video screen. Idemitsu’s poignant irony is embodied in the scene in which Mama, blind to her husband’s needs, caresses Hideo’s video image. (Electronic Arts Intermix) Read More »
This film shows the images of a dancing woman who is wearing Kimono overlapping another image which a naked man is dancing. This is one of the original psychological concepts of C.G. Jung. For women, Animus is an image of a man by projection of her mental energy.Read More »