“What is poetry? Not reality, but greater than reality. No dream, but waking dreams. And mortals think we poets only play, invent and fabricate.”
Even at his most stagey, within the confines of a TV production, Bergman delivers a visually expressive film, boasting the philosophical grandeur of the source material, August Strindberg’s 1901 play. Intricate in ‘inconsequent’ structure, and ruled by the sleeping consciousness of a dreamer, this brooding fantasy drama is a thorough study of the human psyche/soul, as well as of all of its innate contradictions. And Ingrid Thulin is magnetically ethereal as Agnes – the Vedic goddess Indra’s daughter – who comes to Earth to experience life from a mortal’s perspective, guiding us through the labyrinth of tightly knit memories and mirages existing out of time and space.
“We must bring the voices back, the ones far away, the dead ones, and raise them in the great ritual.”
Silence is truly golden in the feature-length debut from Argentinean filmmaker Juan Mónaco Cagni. It is not the most beautiful, nor the most poetic mood piece out there, but the FEELING it so effortlessly evokes is utterly pleasant and comforting; it is the feeling of connectedness with everything – your dreaming soul and inner child, the waking spirits surrounding you and the vastness of the universe. Imagine being able to just abandon your routine-plagued life, and wander aimlessly and endlessly, alone or in a company of a special person – either close to you or a complete stranger – with whom you can keep frequently quiet, yet have a deep understanding, one that transcends the common human knowledge – it is that kind of feeling... In the lulling rhythm, space and time lose their meaning, and all that remains is the light of healing memories, and the eternal scent of nostalgia.
“Politics is taboo. X equals U.”
A loose, punkish, gender-bender adaptation of Wilde’s well-known novel, Dorian Gray in the Mirror of the Yellow Press puts an excessively campy garment on a sharp, yet on-the-nose (and a bit overlong) media satire which appears more relevant today than back in the 80’s. Although more accessible and less weird than its superior predecessor Freak Orlando, it holds quite a number of wildly surreal surprises, marrying decadent beauty to iconoclastic absurdity. And it also has brilliant Delphine Seyrig bringing witchy energy and wickedness to the role of trilingual media mogul called Frau Dr. Mabuse.