“From the moment when people are no longer sure that they have a soul or that the body will regain life, it is perhaps necessary to give much more attention to the dead body, which is ultimately the only trace of our existence in the world and in language.” Cinema enters into Michel Foucault’s reflection as its natural consequence. The mortal remains captured forever (or almost) by the lens remain as perhaps the only trace of our existence. And today this trace appears more intangible than ever, or perhaps only more mysterious because digital formats do not allow it to be identified, even when held up against the light. The interrogation of death in Forty Years from Yesterday or the investigation into the origin of the universe in The Unity of All Things are part of that horizon that the French philosopher defined as the space of heterotopias.
The written page and the curve of the body. The text and its interpretation. Or its distortion. In Bressane the system of interpretations, references, symbols is as complex as this singular shot appears pure. An outline against a black background draws a bold trajectory with the light that cuts across from the side. Josie Antello, who has acted for Bressane in Cleopatra and Filme de Amor, incarnates his anti-naturalistic, experimental, materialist cinema. A cinema that breaks with convention, that plays at provoking the viewer, that takes possession of a language in which words and images can keep parallel paths or fling themselves at each other.
In the long Russian winter, the nights are clear and interminable. There is a sense of eternity emanating from this frame, as though even the smoke was crystalized in the surrounding cold. The invitation is to look beyond the post-industrial landscape, with pale blue notes that recall some science fiction. This is what Benny Jaberg has done, as he films an unusual trio of Russians who, in the warmth of a home, wonder about the visionary power inherent in vodka.Carlo Chatrian