LEZZIEFLICK

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by Nana Swiczinsky

grade: 7

The colours of pink, orange, gold and yellow pervade the entire Lezzieflick. And the backgrounds of the images, so colourful, so layered, almost remind of Gustav Klimt’s paintings and, specifically, his masterpiece The Three Ages of Woman.

Colours, colours, colours

Women’s bodies deforming on screen. Hands and mouths that, overbearingly, become absolute protagonists. All this in a deconstructive and strongly anti-narrative work in constant search of new languages. All this is Lezzieflick, directed by Nana Swiczinsky in 2008 and, following the cancellation of the Diagonale 2020, included in the programme Diagonale 2020 – The Unfinished – section Filmmit Onlinefestival. Among other things, this short film was selected on the occasion of the 30th anniversary of the founding of Sixpackfilm, the famous Austrian distribution company specialising in the distribution of homegrown experimental films.

Nana Swiczinsky, in her Lezzieflick, essentially aims to shock and upset the audience by having fun manipulating photographs that seem to be taken from 1960s advertising posters using the morphing technique.

Initially, then, we see some women engaged in their daily activities. They immediately seem to us smiling, perfect, impeccable in their posture and elegance. Then, suddenly, everything changes: their bodies come closer and, in almost merging with each other, they are progressively deformed. Only vaguely, then, are we able to distinguish their figures. And yet, they themselves, continuously deformed, are thus animated. From their rhythmic movements and from abstract patches of colour that appear overwhelmingly on the screen we can get an idea, then, of repeated sexual acts in progress.

The colours of pink, orange, gold and yellow pervade the entire Lezzieflick. And the backgrounds of the images, so colourful, so layered, almost remind of Gustav Klimt’s paintings and, specifically, his masterpiece The Three Ages of Woman (1905).

Nana Swiczinsky, for her part, does not aim to express certain arguments with this work. Nor does she aim to be overly provocative. There is no talk here of the liberation of sexuality or the issue of homosexual relationships. Or rather, not only. On the contrary, everything is seen as something natural and liberating, as something joyful, perfectly capable of making us forget, for a moment, about the real world, leading us into a completely new and almost otherworldly dimension. Then, suddenly, the return to normality. As if nothing had ever happened. As if nothing had changed. Except for the fact that, unlike what we saw in the first frames (portraits of women, yes smiling, yes apparently serene, but, in any case, rarely depicted with anyone), this time Nana Swiczinsky’s camera stops on the frame of two women, finally together, intent on their usual daily activities.

A joyful and liberating short film, this Lezzieflick. And if, in some ways, it may seem – narratively speaking – excessively simple and linear, it nevertheless presents itself as a welcome breath of fresh air within contemporary Austrian cinema.

Original title: Lezzieflick
Directed by: Nana Swiczinsky
Country/year: Austria / 2008
Running time: 7’
Genre: animation, experimental
Screenplay: Nana Swiczinsky
Cinematography: Nana Swiczinsky
Produced by: Nana Swiczinsky

Info: the page of Lezzieflick on the website of the Diagonale; the page of Lezzieflick on the website of the Sixpackfilm; the page of Lezzieflick on iMDb