2009 New York Film Festival
All films from U.S.A. unless otherwise specified.
([v] video piece; [s] short, under 30 minutes; [m] medium length, 30-69 min; * grade changed upon repeat viewing)
The Diamond (Descartes' Daughter) (Emily Wardill, U.K.) [s]
Images 09. See review here.
Holy Woods (Cécile Fontaine, France) [s]
Feb 2009. See review here.
-In Comparison (Harun Farocki, Germany / Austria) [m]
TIFF 09. See review here.
TIFF 09. See review here.
-Lumphini 2552 (Tomonari Nishikawa, U.S. / Thailand / Japan) [s]
TIFF 09. See review here.
O'er the Land (Deborah Stratman) [m]
Images 09. See review here.
-Trypps #6 (Malobi) (Ben Russell, U.S. / Suriname) [s]
Discussed in Cinema Scope article. Link TK.
It has taken me an inordinate amount of time to write something about Quartet, despite the fact that I've seen it four times (although, so far, only on a video screener). While this certainly speaks to the limitations of my puny brain, I think it also speaks very directly to the type of film Quartet is, and why it is a truly wonderful film, one whose pleasures magnify with every subsequent viewing. Hamlyn's film consists of four "trips" around a single room. Each iteration is composed of a series of static shots, and each shot leads to the next through a rather direct form of spatial mapping. In fact, Hamlyn's use of space, focus, camera placement and framing work to produce an odd visual analogue to the "sound bleed" so common in the editing of commercial films. One shot leads to the next with a baton-relay logic -- we start at a diagonally-pitched open window, then to the space directly adjacent to it, then up to the ceiling to examine a lonely lightbulb, with an edge of wall in the frame, which leads to spare, rectangular white cabinet doors and wire hangers, all the way back to the start. Hamlyn makes of this rather unspectacular environment a set of interlocking still lives, flattened against the outer walls of the shallow space of what looks to be an 8x8 rental property. (The only thing that makes the space uniquely suited to this aesthetic endeavor is the white, manager's-special latex paint. In the first go-round, we're zeroed in on the space as this tightly woven Mondrian world, with certain shadowed moments but an overall even finish, much like the unobtrusively matte walls themselves. By the second and third times, Hamlyn has not only shifted his focus slightly, but has decided to shoot the room under different atmospheric conditions. As the overcast haze (Britain? Canada?) cloaks the room in shadowy film grain, we soon notice something rather shocking. Hamlyn is shooting in time lapse. All of these brief, well-composed shots throughout the space, which imply a kind of etched permanence, are rendered as Hamlyn trains his camera on a "still life" over significant spans of time, the variations in light producing general ambiance rather than rapid shifts. If we didn't see Hamlyn and his camera wiggling in the lightbulb's reflection, we might never even notice the time lapse work. As the Quartet reaches its fourth and final movement, we are past looking at the well-composed elements of the room. Instead, we're gazing out at the clouds and raindrops further out from the window, the distant planes in the room that produce an indescribably different mood -- we could maybe call it a movement from figure to ground, or positive to negative space -- than when we started. I've mainly put off writing about Quartet because no amount of ekphrasis or procedural outline can communicate the way the film elicits a highly pleasurable, underutilized faculty in our vision. It isn't a puzzle, nor is it an unfolding structure. Rather, Hamlyn shows a space undergoing the controlled adjustment of attention, systematic but highly intuitive. The verbal part of us switches off in front of Quartet, and we're moved along by the progression of abstract forms. The musical title is apposite in a very fundamental way.
Digital intercourse: The argument could be made (and I don't think it would be entirely offbase) that just about everything Thorsten Fleisch does in Wound Footage "has been done before." It's a film primarily focused on the physical decay of a filmstrip, on the subsequent interplay (and in this case interpenetration) of the photographic image and its support, of surface and depth. What