I Had Nowhere to Go
Concorso Cineasti del presente
Make a clean cut of images. Maybe this is indeed the only way to give back its role to Cinema. Because it’s not the images that parade on the screen, but those that form in our mind that are the most important.
A collaboration between two artists united by the same unstoppable energy and desire to experiment, I Had Nowhere to Go matches the charm of a tale that moves forward by flashes of inspiration with a theoretical structure as solid as a Swiss rock.
By meeting Jonas Mekas, Douglas Gordon brings forward the dialectic quality of the Lithuanian director. The story of his exile from Europe mixes with his reflections in a New York that he slowly learns to know. Mekas’ words are always special, inspired, and carried by rethorics which are never heavy. He gives the impression that every fragment of life is precious. A poet of memory of the Great History that interacts with the memory of small facts, Mekas is a man of the 20th Century that with his fragmentary style has predated the post- concept.
His narration in accompanied only by absolute darkness. Douglas Gordon relies on the summoning power of sound and makes the film, like all his works, a unique experience.
Almost a countershot of his portrayal of Zidane, which he co-directed with Parreno, this film highlights the role of memory. Much like his previous work was a reflection on the coexistance of images, this new one flickers, like dreamed flashes, a few frames charging them of an ultra-real value, dreamlike and ghostly like at the origins of Cinema.Carlo Chatrian