Reviews (2)
"Behind the curtain, where it is still forbidden to go (nothing speaks anymore). In the interruption of connection, in the final contrast. Against all expectations, an unstoppable outflow, a distant new beginning. Movement, detached from itself, now arranges distances, roles... from the other side... it does not cease to unravel its tireless function." The text by the renowned writer Philippe Sollers, accompanying the entire film, reveals the hidden foundation of the film's approach: to discover behind the shell of visual sensations that the Mediterranean offers their common basis, unifying spatial and temporal distances into a point of contraction, in which everything must first be equivalent in order to subsequently create all the differences endowed with meaning - a mythological point where each shot reveals a connection to every other because the language with which they will subsequently speak is only now forming here. Thus, to unveil the drawn curtain, behind which a constant arrangement of differences takes place, always a new arrangement of shots and memories of them. The time of the Mediterranean contributes to this mythology, in which unchanging eternal destinies coincide with the slow growth and decline of empires, and where even modern man finds an equivalent in an abandoned castle, a bleeding bull, or a mummy, and is eventually transformed like steel into the face of a young Arab girl. Linguistic and film structuralism in the form of cinematographic and literary poetry.
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I know that cinema has various developmental stages, and within them are experimental films that showcase what cinema is capable of. Unfortunately, this film definitely doesn't showcase that for me. Yes, there are images here that one can connect, associate, and interpret in any way, but essentially anyone can do that on their own and defend any meaning that comes to mind.
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