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.
The white-haired man from the final sequence of L’eclisse shows up as an extra in 8½, just before we visit the set of Guido’s new film – which, like the ending of L’eclisse, invokes contemporary fears about nuclear war. Both films were shot by Gianni di Venanzo.
The scariest moment in Last Year at Marienbad: the camera dollies towards Delphine Seyrig, who welcomes us ecstatically. Then the camera resets and it happens again, and again, like the repetition in a nightmare. Every element of the film screams, ‘Something is wrong here!’
The pink beach (spiaggia rosa) Giuliana dreams of and the red desert (deserto rosso) from which she cannot escape have more in common than you might think. Guests this week include Dash, Resnais, Varda, Fellini, and two completely useless spaceships. slowmovingpictures.org/p/everything-t…
Julie Dash filmed Daughters of the Dust without artificial lighting, but with a heightened awareness of the relationship between lived and photographed reality. The Peazant family are recorded in a liminal space where ‘the last of the old’ blur into ‘the first of the new.’
Giuliana takes an imaginary holiday in Sardinia, but of course she brings the red desert with her. If only she were more like the Peazant family in Daughters of the Dust, bravely forging ahead into a new world while maintaining connections with the past. slowmovingpictures.org/p/everything-t…
In L’avventura, Sandro asks Anna how she has been. ‘Awful,’ she says. ‘Why?’ he asks. She echoes that word, ‘Perché,’ punching Sandro as though expecting him to disappear beneath her fists. He laughs, but really – for what, or for whom, has Anna been suffering all this time?
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