Further proof that cinema, the history, production, and reception thereof, was only ever thoroughly bourgeois in the home movies of Jonas Mekas.
"[...] There are moments in football that are exclusively poetic: these are the moments of the "goal." Each goal is always both an invention and a subversion of codes: each goal is inexplicable, striking, stunning, and irreversible. Just like the poetic word. The top scorer in a league is always the best poet of the year (Francesco Trento, for instance). Dribbling is poetic as well, (though not always like scoring a goal). Indeed, every player dreams (together with every spectator)…
Ferrara’s most remarkable film because of its incompleteness, which due to the nature of the medium (in dissolves, cuts, ellipses), is a totality by omission. That Sandii is Pandora armed not with a box but a computer disc is an afterthought. What is truly disconcerting is the fusion between dream, memory, and video recording that permeates throughout the film. X’s recollections during the latter half of the film in particular constitute a cinematic stream of consciousness that I’ve only encountered…
One of the saddest films. And not just because of the tragic fate of Philippe Marlaud, but also for the film’s nuances on love and chance encounters that lead nowhere and yet reveal everything.
She’s the one
who steers me through dust
and pools, the one who guides me
across the city, who helps me
when I can’t move my eyes
She turns my head and says,
"There is a post office;
there is a public theater ..."
- Robert Fernandez