A man returns to a city to try to track down a lovely woman he met six years earlier.
A man returns to a city to try to track down a lovely woman he met six years earlier.
Dans la ville de Sylvia
Based on the first few minutes—the handsome, floppy-haired protagonist, the quick cut from the (first) spilled drink to the title cards, the cards themselves which announce the day, the absence of non-diegetic music—was expecting something vaguely, if not wholly Rohmerian. And in some ways, In the City of Sylvia, with its basic setup and thematic explorations, does feel like something Rohmer would have made, except with one crucial difference: the near-absence of dialogue. That's not to say that Rohmer's films aren't visual (actually something of an underrated aspect of his films) or that Luis Guerín's is not verbal. The difference is that while Rohmer is often concerned with discussion and explication as a means of comprehending the world, here Luis Guerín is concerned with…
A self-effacing doc-fiction hybrid made by a cinematic poet. Almost entirely devoid of dialogue, the film follows a young man credited only as 'El' as he wanders Strasbourg in search of the titular beauty, a woman he apparently asked for directions in a bar several years before. One could simply bask in the splendor of color, sound and image. It's a great movie about people-watching. And to spot the references: Hitchcock, Bresson, Rohmer, Preminger, Resnais! And of course the city of Strasbourg, almost serving as a character here, is related to Goethe and Sorrows of Young Werther. Pure pleasure. Pure cinema.
Junto com Hong, e talvez mais substancialmente do que Hong, a única herança produtiva e não regressista/estagnante do Eustache no cinema dos anos 2000.
E um dos pouquíssimos filmes dos últimos 20 anos que realmente absorveu alguma coisa do seu tempo sem com isso cair na velhacaria de reproduzir condescendentemente o seu zeitgeist. Se alguém quiser saber o que era andar, sentar, sorrir, esquivar, o tempo que levava para se fazer cada uma dessas coisas, o tempo que levava para fazê-las em sequência, e mais tarde desordenadamente, e mais simplesmente o que se sentia ao se ouvir Heart of Glass e Voyage Voyage nos anos 2000, não tem documento mais preciso e impecavelmente sugestivo do que este filme.
A masterpiece. One of the best representations of memory, loss of memory, romantic idealism, and longing I've seen. Guerin's constant use of obstructions and distortions (through objects, mirrors, glass, what have you) to portray the ambiguity of a memory or subjective experience is astounding. Plus it's a wonderful portrait of Strasbourg, a place that vibrates with life through every moment.
And it makes sense that Guerin would put so much emphasis on the city and its sounds. Faded memories seem to capture more vague, abstract aspects of what we once knew rather than hang on to specifics. In the City of Sylvia just nails this aspect perfectly. I can't praise it enough. Hopefully I'll have a piece on it soon for WTI.
I like some of it; the people watching that reminded me of the late night train rides I’ll often take with very little people about, but the few that remain I like to examine out of the corner of my eye and wonder who they are, where they’re going, what they’re thinking, etc. The problem with the film here though is that the people watching is a little pervy - he observes and draws pretty women - and after a while, uninteresting. He later follows (legitimately stalks) a girl which is far creepier than the innocent naivety it’s painted as. And the whole film reveals itself as this male fantasy where the brooding, interesting male attempts to “lovingly” track down…
Once I fell in love
but it was a gas
soon turned out
had a heart of glass
This is simply one of the greatest films ever made about people watching, voyeurism, love's intangibility, and the creative process. Guerín's work is a stunning one, meandering in an almost dialogue-free, glacial pace (reminiscent of Tsai Ming-Liang especially), strategically placing inserts to convey the narrative details usually filled in through exposition. Natasha Braier's camera captures the elusive cityscapes in ways both notably distorted and clear, often crafting a mise-en-scène around the main character's grip on reality. In particular, she and Guerín create some gorgeous multiple exposure shots through reflections and drawings, supplemented by the evocative soundscapes of urban life.
Xavier Lafitte and Pilar Lopez de Ayala are both gorgeous models for the camera, though both of their performances retain a…
فما كان لي سوى أن اقول .. يالا عذوبة و جمال هذا الفنّ.
a ontologia do olhar
In The City Of Sylvia starts off with a 25 minute scene where a man sits at a table watching and drawing women.
That really isn't me trying to comically pare down what happens here. That really is all that happens! He gets up after a while and I thought to myself, "Oh christ, it's over!" - but only to move to another table. And then I was sad again.
The thing about this scene is that is still works because it's so monotonous and still and completely uneventful (aside from a barista knocking over a coffee and the lead actor Xavier Lafitte knocking over his beer) that I found myself completely unwilling to give up on it to see…
I've owned this DVD for a while, and not knowing anything about it or indeed the Director, I have only just got round to watching it. And what a pleasant surprise.
There is little plot. A man (El) returns to Strasbourg to look for a woman (Sylvia) who he had briefly met six years earlier. He sits in cafes observing the world around him. He sees a woman who he thinks might be Sylvia and follows her in an effort to get reacquainted. And really that's it. But there is a lot going on below the surface here.
There is an inherent pleasure in just watching this film, feeling its slow rhythms, basking in the beautiful cityscape. It somehow plugs…
todo um pedaço do mundo ressignificado por um nome. cada olhar movido por uma busca incessante: no começo por um alguém específico, o dono do nome, da lembrança. depois, por qualquer um que retorne o ato do olhar, mistificando aquele encontro.
vou pensar bastante nesse por um tempinho, tem uns momentos indescritíveis aqui (a moça com o cabelo ao vento não sai da minha cabeça, a primeira troca de olhares desajeitada também não), mágico.
best part was when they played heart of glass and i closed my eyes to pretend i had spotify open instead of vlc
Esto es cine.
ستُفَتش عنها يا ولدي في كل مكان
m'ha encantat com està rodada, però CREEPY AF
IN THE CITY OF SYLVIA: like an avant-garde point and click adventure. José Luis Guerín films people and memories as if they were phantasms except that instead of the empty house of TREN DE SOMBRAS, here it’s a bustling city in the summer. Brilliant
“What is important now is to recover our senses. We must learn to See more, to Hear more, to Feel more.”
"(...) tanto, tão perto, tão real
Que o meu corpo se transfigura
e toca o seu próprio elemento
num corpo que já não é seu
num rio que desapareceu
onde um braço teu me procura
Em todas as ruas te encontro
Em todas as ruas te perco"
- Mário Cesariny, Em todas as ruas te encontro
this ended sooner than i expected. the concept is thrilling i just wish there was more to it. i think having a city as a character is quite beautiful to be honest
i couldn’t figure out what all the laure je t’aime meant :(
this is definitely a movie i’ll return to more and more as it brings an odd sense of comfort to me... like a linklater movie that’s yet to be made or something... very pleasing and calming to watch i loved it
Not sure there's enough here to justify the feature length. The sound design is great. The way the cafe opens wider and wider with each person's individual little impression was peak people-watching.
Also could've reckoned more w the creepiness the man if there were a more definite resolution in his conversation with Not-Sylvia. Didn't need to continue on for another half hour to see how he internalized it.
Still a rare breezy but contemplative watch. I definitely get the appeal even if it didn't work for me.
O diretor espanhol José Luis Guérin conta sua história platônica de amor
O filme começa em um quarto de hotel. Um jovem de olhos azuis claros, cabelos compridos, queixo quadrado e barba rala, sentado na cama, faz em um caderno anotações puxadas da memória. Quando ele sai, na viela de pouco movimento ouvimos conversas esparsas em francês, espanhol, inglês e alemão.
Com apenas esses dois planos estáticos - fechado no ator Xavier Lafitte e depois aberto na rua - o roteirista e diretor José Luis Guérin consegue nos passar informações essenciais sobre o seu filme: estamos em uma cidade não só cosmopolita, mas também uma cidade, ecoando a poética de Cidades Invisíveis, de Ítalo Calvino, que se constrói de lembranças…
MundoF 17,015 films
French cinema comprises the art of film and creative movies made within the nation of France or by French filmmakers…
Oscar Lau 999 films
The latest 2020 edition of TSPDT The 21st Century's Most Acclaimed Films (www.theyshootpictures.com/21stcentury.htm)
Missing in Letterboxd: 629th: The Wire (2002-2008)
Drew 1,000 films
This is the February 2021 edition of the They Shoot Pictures, Don't They? list of the 1,000 most acclaimed films…