Some filmmakers keep their endings ambiguous so the art lingers with the viewer in order to interpret the piece rather than merely consume it. Writer/director Peter Lynch looks to go one step further with his noir Birdland (co-written by Lee Gowan) by rendering the whole a mystery wherein beginnings and ends are both fluid as far as linear coherency is concerned and meticulously structured to amplify the emotional machinations of his lead Sheila Hood (Kathleen Munroe). Lynch intentionally disorients so that mood overshadows action. He focuses on Sheila’s place within a story branching off in multiple directions independent of her despite her obvious visible presence within each as lurker, voyeur, lover, or friend. Is she therefore a victim of external circumstances or the one deliberately pulling every string?
Even before the title flashes across the screen we’re drowning in images strung together as though tonal poem, gleaning...
Even before the title flashes across the screen we’re drowning in images strung together as though tonal poem, gleaning...
- 1/24/2018
- by Jared Mobarak
- The Film Stage
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