In Instructions for a Light and Sound Machine, once again the focus is on our beloved cinema. Peter Tscherkassky has shown us how great classics of film history can take on entirely different meanings each time, depending on who decides to manipulate them as they wish. At the 2005 Cannes Film Festival, Quinzaine des Réalisateurs.
In On the Main Square, at the Forest’s Edge we find images of one, of many worlds in which time seems to have stopped forever. Images of moments shared not only by the teenage protagonists, but also by their own parents who, just like them, at their age, used to spend their free time on the benches of their village square waiting for something to happen. Or even waiting for nothing.
Sleeper plays on a subtle ambiguity, which well represents the perceptions and paranoia that many experienced in the aftermath of the Twin Towers attack. Benjamin Heisenberg knows what he wants to convey to the viewer and, in this case, he has done so by giving us a subtle and intelligent feature film.
Everyone has something to hide. Michael Haneke knows this well. And he also knows that certain secrets and faults from the past can also have a strong, very strong impact on the present. In Hidden, therefore, the protagonist’s past returns in the most devious way.
At the Venice Film Festival 2022 with their documentary Vera, Tizza Covi and Rainer Frimmel have given us real gems over the years. One of these is Babooska, in which reality is shown to us as it is, without any filter, proving to be in its normal simplicity more poetic and evocative than ever.
A film, You bet your Life, which focuses entirely on the inner self of its protagonist and which, consequently, boasts a highly appropriate direction, with frequent use of shoulder-mounted cameras and frenetic editing to show us his anxieties.