Architectural Location
Spoilers herein.
Much has been made of the three experimental techniques used here: unbroken takes; four screens; heavy improvisation. But there is a powerful effect that seems to be overlooked.
Film is inescapably two-dimensional, and many clever tricks of different types have been used to give meat to the narrative eye. The most interesting of these concern how to introduce visceral notions of space. Studying these is one of my film hobbies -- there are many clever ideas, but nothing with the immediacy seen here.
Its because very soon, you understand that the four cameras are near each other and all deal with the same time. People move from one frame to another, with the view often overlapping. In `regular' film, you get used to a single eye. Talented directors will play with this single note, shifting between god, an invisible person, the perspective of a character, the position of a virtual audience. Here, all cameras are uncompromisingly human, but because you always have these four eyes, you are given a particularly deep notion of space. In fact, it is hyper-real: a richer feel of depth than you can get with your own eyes.
Figges is particularly aware of this effect (though it doesn't come up in his DVD comments). The primary narrative involves the fellow splitting his attention (between two women) and involves the notion of films about film. It has a primary character who `listens' in on other frames, from (mostly) a car, expanding her virtual space. She's the center of the `action.'
Spoilers herein.
Much has been made of the three experimental techniques used here: unbroken takes; four screens; heavy improvisation. But there is a powerful effect that seems to be overlooked.
Film is inescapably two-dimensional, and many clever tricks of different types have been used to give meat to the narrative eye. The most interesting of these concern how to introduce visceral notions of space. Studying these is one of my film hobbies -- there are many clever ideas, but nothing with the immediacy seen here.
Its because very soon, you understand that the four cameras are near each other and all deal with the same time. People move from one frame to another, with the view often overlapping. In `regular' film, you get used to a single eye. Talented directors will play with this single note, shifting between god, an invisible person, the perspective of a character, the position of a virtual audience. Here, all cameras are uncompromisingly human, but because you always have these four eyes, you are given a particularly deep notion of space. In fact, it is hyper-real: a richer feel of depth than you can get with your own eyes.
Figges is particularly aware of this effect (though it doesn't come up in his DVD comments). The primary narrative involves the fellow splitting his attention (between two women) and involves the notion of films about film. It has a primary character who `listens' in on other frames, from (mostly) a car, expanding her virtual space. She's the center of the `action.'