David_Moran
A rejoint le févr. 2004
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Note de David_Moran
I got very excited when I saw the new credit to David Lynch's filmography, but after seeing this short film I think the truth has to be said: This is not a film, it's a 16 minute commercial for Christian Dior. I'm still not sure what the product is, maybe it's just the brand. So, when criticizing this title one must do it on 2 different levels: as a commercial and then as a short film.
As a commercial, this is pretty good. Everything is in place: the bag, the dress, the make up, and probably even the perfume, although this is one thing we cannot be certain of.
As a short film, this is pretty dull. It seems that David Lynch has completely run out of ideas, and he once again makes a film about "a woman in trouble". Lynch's films of this decade were all about women in trouble. Beginning with "Mulholland Drive" and ending with this piece. Unfortunately, the music and atmosphere cannot hide the fact that Lynch is out of inspiration. This little short film adds nothing to what we've already seen from the man. It doesn't really matter if you don't watch this. Watch "Inland Empire" instead.
I believe that Christian Dior just wanted to exploit poor Lynch's surreal approach to promote their products. I also believe that Lynch. lacking the opportunity to make another feature film, desperately needed the money. I can see no better reason for the making of this film.
And all this I say as a David Lynch fan who thinks Lynch is one of the greatest filmmakers alive today.
As a commercial, this is pretty good. Everything is in place: the bag, the dress, the make up, and probably even the perfume, although this is one thing we cannot be certain of.
As a short film, this is pretty dull. It seems that David Lynch has completely run out of ideas, and he once again makes a film about "a woman in trouble". Lynch's films of this decade were all about women in trouble. Beginning with "Mulholland Drive" and ending with this piece. Unfortunately, the music and atmosphere cannot hide the fact that Lynch is out of inspiration. This little short film adds nothing to what we've already seen from the man. It doesn't really matter if you don't watch this. Watch "Inland Empire" instead.
I believe that Christian Dior just wanted to exploit poor Lynch's surreal approach to promote their products. I also believe that Lynch. lacking the opportunity to make another feature film, desperately needed the money. I can see no better reason for the making of this film.
And all this I say as a David Lynch fan who thinks Lynch is one of the greatest filmmakers alive today.
I don't know what it is, but there is something about this film. I saw it just yesterday and I still don't know what to think. on one hand, the story doesn't flow, and I seriously doubt if there is a story at all. if there is, it is very well hidden within the layers of the film, just like in a good Lynch movie. however, don't bother yourselves finding it. I think it's not there...
This is basically an elliptical look, shot very nicely on DV, of David Lynch at home and at work. it's not your typical documentary with interviews, history and opinions. rather than that, it's an intimate journey of the filmmaker through some moments he had with Lynch at his house and on the set of INLAND EMPIRE. as such, the movie lacks straightforwardness, which is essential to this kind of documentary. all sorts of different scenes of Lynch talking on the phone, preparing the sets for his film production, painting and telling stories from his life. it would definitely interest any Lynch fan, but as a movie whole this is not satisfactory.
The beauty of the film lies within the montage itself, revealing a very real Lynch, not the artist, not the myth, but just the man, the human being who has great ideas for movies and paintings and just loves the "doing". this is a key morale to anyone out there who wants to be an artist. these little moments with Lynch alone really worth the watching. they are funny and sometimes surreal.
An interesting point: the film was directed by blackANDwhite, a pseudonym for someone, and was produced by absurda, Lynch's own production company. that makes me wonder whether Lynch is the real person behind this film but didn't want to take the credit? maybe he is responsible for the lack of coherent story, just because nothing really important happened in his life, except for making INLAND EMPIRE? maybe this is all Lynch wants to reveal, until the next documentary? if this is true, all I can say is that Lynch is a great businessman as well, keeping us wanting more footage, more glimpse into his life and way of thinking. plus, look at the credits at the end: the thank you credits reveal some names from Denmark, and especially from zentropa productions. it seems the director was influenced by the danish cinema of the last decade. but, again, i'm not sure this is for the benefit of the film.
This is basically an elliptical look, shot very nicely on DV, of David Lynch at home and at work. it's not your typical documentary with interviews, history and opinions. rather than that, it's an intimate journey of the filmmaker through some moments he had with Lynch at his house and on the set of INLAND EMPIRE. as such, the movie lacks straightforwardness, which is essential to this kind of documentary. all sorts of different scenes of Lynch talking on the phone, preparing the sets for his film production, painting and telling stories from his life. it would definitely interest any Lynch fan, but as a movie whole this is not satisfactory.
The beauty of the film lies within the montage itself, revealing a very real Lynch, not the artist, not the myth, but just the man, the human being who has great ideas for movies and paintings and just loves the "doing". this is a key morale to anyone out there who wants to be an artist. these little moments with Lynch alone really worth the watching. they are funny and sometimes surreal.
An interesting point: the film was directed by blackANDwhite, a pseudonym for someone, and was produced by absurda, Lynch's own production company. that makes me wonder whether Lynch is the real person behind this film but didn't want to take the credit? maybe he is responsible for the lack of coherent story, just because nothing really important happened in his life, except for making INLAND EMPIRE? maybe this is all Lynch wants to reveal, until the next documentary? if this is true, all I can say is that Lynch is a great businessman as well, keeping us wanting more footage, more glimpse into his life and way of thinking. plus, look at the credits at the end: the thank you credits reveal some names from Denmark, and especially from zentropa productions. it seems the director was influenced by the danish cinema of the last decade. but, again, i'm not sure this is for the benefit of the film.
"Michelangelo's gaze" is a very strange and interesting little movie. it's 19 minutes long and has no story what so ever. it's just the great director Michelangelo trying to touch and connect with the great artist Michelangelo. in a mysteriously moving way, you get the feeling that this titan of modern cinema is saying goodbye to the world, goodbye to his life. as the only actor in the cast, Antonioni really gazes at himself and at the work he's done through the course of his life. and what was that work? well, as cinephiles would say, sculpting in light.
Cinema's matter is light. and photographers "sculpt in light". Antonioni sculpts the faces and other body parts of Michelangelo's big sculptures "MOSES" in a cathedral, and he is there all alone. The always "young" man in the sculpture is contrasted with Antonioni's old and rigid face, unable to move thanx to a stroke. and that's all. accompanied by wonderful cinematography that reminds us the great compositions of "L'aventurra" or "L'eclisse", this little, almost silent film, is really experimental cinema with the exception that it has a great director, a historical innovator of the art, standing behind it and in the front of the camera.
But after all, this movie will be regarded the most by Antonioni's fans and other film and art buffs. personally, I recommend it to everyone who can appreciate beauty at it's purest form.
Cinema's matter is light. and photographers "sculpt in light". Antonioni sculpts the faces and other body parts of Michelangelo's big sculptures "MOSES" in a cathedral, and he is there all alone. The always "young" man in the sculpture is contrasted with Antonioni's old and rigid face, unable to move thanx to a stroke. and that's all. accompanied by wonderful cinematography that reminds us the great compositions of "L'aventurra" or "L'eclisse", this little, almost silent film, is really experimental cinema with the exception that it has a great director, a historical innovator of the art, standing behind it and in the front of the camera.
But after all, this movie will be regarded the most by Antonioni's fans and other film and art buffs. personally, I recommend it to everyone who can appreciate beauty at it's purest form.