domingo, 17 de maio de 2015

a não esquecer

 Depois, depois do Rappaport e de From the Journals of Jean Seberg, lembrei-me de que antes, sobre ela, ainda houve este. Les hautes solitudes (1974), de Philippe Garrel. 

quinta-feira, 14 de maio de 2015

"the flesh with which we think"

White Epilepsy (2012), de Philippe Grandrieux.

What do we seek, since the first traces of hands impressed in rock the long, hallucinated perambulation of men across time, what do we try to reach so feverishly, with such obstinacy and suffering, through representation, through images, if not to open the body’s night, its opaque mass, the flesh with which we think – and present it to the light, to our faces, the enigma of our lives.

Philippe Grandrieux, ‘Sur l'horizon insensé du cinéma’, Cahiers du cinéma hors série: Le siècle du cinema, Nov., 2000. Traduzido ali

sexta-feira, 8 de maio de 2015

Mark Rappaport and the fictional autobiography

The Vanity Tables of Douglas Sirk (2015), de Mark Rappaport.

Rappaport este da descoberta da “fictional autobiography”, sobre o que se pode ler ali, numa entrevista de Rosenbaum a Rappaport, a propósito de From the Journals of Jean Seberg (1995), intitulada de "The Seberg We Missed: Interview with Mark Rappaport", em 1996. A curta "The Vanity Tables..." abre a extensão do IndieLisboa International Film Festival no Porto, organizada pela milímetro.

From the Journals of Jean Seberg (1995), de Mark Rappaport.

"(...) Cineaste: One potential danger of this type of film is that it could be mistaken for a documentary. So one could theoretically come away front From the Journals of Jean Seberg thinking, “I know who Jean Seberg was,” as opposed to “I know what happened to Jean Seberg,” which is something else entirely.
Rappaport: Well, I certainly don’t pretend to know who Jean Seberg was, and, in a sense, I’m really not interested in that aspect of it. People say to me, “But, you know, I still don’t understand why she did what she did.” Which is totally irrelevant. I mean, I’m not interested in her psychology. Psychology is pretty much a boondoggle — very often a way of trying to explain the unexplainable. It’s ‘Jean Seberg’ the construct, who is the sum of all of her movies, that’s interesting to me. It’s the persona that’s recreated through artificially created images that I find fascinating. I didn’t know her and I’m not really that interested in the day to day existence of her life and what she may have thought, what she ate, whom she slept with. I’m interested in what she left behind — her films and what is projected in those films.
In addition, I’m not responsible for what people come away with from movies and least of all my movie. This is not a cradle to grave biography, this is not a standard PBS biography, nor does it pretend to be. It’s very clearly a dissection of images of her as they are presented on the screen. I recently saw a bio of Nico [Nico Icon - ed.] and all the interviewees want to do is talk about how empty she was, how boring she was, how she was not able to love anyone, and so on. I would hate to have my life defined by people who didn’t know me very well or didn’t have the words to describe me the way I would have described myself. It does become a problem of language. And perception. And psychobabble. The message to be learned from those kinds of bios is that you should never die, and, if you have the bad fortune to die, just make sure that no one makes a documentary about the ‘real’ you — whoever that is!
What does a biography really tell you? It’s a very limited perspective of what the biographer has researched, how well they’re able to put it together, what they leave out, what they put in, their ability to describe what they put in, the order that they put it in. It’s all incredibly colored by the writer. And autobiography is the ultimate lie. How much truth can the person writing tell about his or her life, really? They’re retelling a life from a very limited perspective. I’m not saying that mine is less limited but it’s more social/cultural/political. There is a certain kind of authenticity in the clips themselves. I didn’t write or direct or light or edit those movies. I’m using them as primary documents. (...)"

sexta-feira, 1 de maio de 2015

o sétimo selo

O Sétimo Selo (1957), de Ingmar Bergman. 

"(...)My intention has been to paint in the same way as the medieval church painter, with the same objective interest, with the same tenderness and joy. My beings laugh, weep, howl, fear, speak, answer, play, suffer, ask, ask. Their terror is the plague, Judgment Day, the star whose name is Wormwood. Our fear is of another kind but our words are the same."

[On The Seventh Seal], texto de apresentação por Ingmar Bergman, reprinted in 'Focus on the Seventh Seal', edited by Birgitta Steene. 

O Cerco (ii)


"O Cerco" (1970), de António da Cunha Telles, no Cinema Passos Manuel, a 7 de Maio, pela milímetro. Este não se perde, desde logo porque, contrariamente ao que deveria, é de aparição rara. 

"(...)Ultimately, these two narratives manifest political circumstances that generate the social entrapment of the female, expressed in the castration and perversion of their desire and freedom. In so many ways, in the manner it reflects their female tragedies, pre-revolution cinema and post-revolution cinema mirror unexpected similar endeavours."