In this astonishing image from Satyajit Ray’s Devi, the individual and her surroundings are dissolved by sunlight. This trick-of-excessive-light symbolises the delusion that has been imposed on Doya; the film suggests that the clearer light of reason might have prevented this.
Red Desert is a (knowingly) doomed attempt to evoke a state of fear that cannot be portrayed directly. It is a fear of ‘colours, people, everything,’ of an entity that appears on the wall, then on the ceiling, then in the gaze and touch of another person. slowmovingpictures.org/p/everything-t…
It’s easy to see why Stanley Kubrick was inspired by Max Ophüls’ use of camera movement to transport characters and audience onto another plane of reality. The effect can be romantic but also dizzying, a dream that waltzes into a nightmare.
‘There is nothing in the film beyond what you feel,’ said Antonioni. There is nothing in Red Desert beyond what Giuliana feels (or beyond what we feel about her feelings), so how do we read her relationship with her physical and social environment? slowmovingpictures.org/p/everything-t…
Why do we need people? What do we need from them? What does it mean to love and be loved? I have no idea and neither does Giuliana, so this week’s post is long and rambling, with an extended digression about Ophüls and Kubrick. slowmovingpictures.org/p/everything-t…
Giuliana in Red Desert, dwarfed by cosmically vast metal orbs. A strand of grass is barely visible beneath the wall. The image tells us what Giuliana is up against, but it also tells us to keep our distance: she seeks a connection, but in another sense she wants to be left alone.
This week, we’re being stared at by a strange man on a boat, ignored by a cluster of industrial eyeballs, judged by a hazy concierge, and dragged into a vortex of existential dread (i.e. a corridor). Tangents include Alphaville and Secrets of a Soul. slowmovingpictures.org/p/everything-t…
Giuliana, in Red Desert, stares out at the Ravenna docks, as her story of the pink-sanded beach fizzles into oblivion. This is not a simple contrast between fantasy and reality. Giuilana’s grey depression is latent within, and emerges out of, her self-deconstructing dream.
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