Antonio Gaudí

Be warned that this is not your typical documentary. There is very little dialogue. If you are one of little patience like me, I recommend watching this movie on your laptop browser while simultaneously trying to get some work done, or while chatting with a friend and sharing a bottle of wine. But be warned: without any notice, your work will go mysteriously uncompleted, and the conversation with your friend will inexplicably go quiet as you are sucked into the screen.

I visited Barcelona over a year ago and saw many of Gaudi's works and projects for myself, and can definitively say that this film truly captures the sensation of being awed by something that cannot be described by words alone-- a sensation that one feels when encountering a work of Gaudi completely by surprise, after the layers of the city are peeled away. Gaudi's works are shown in the context of scenes of the hustle and bustle of Barcelona life, the haunting medieval churches, the Catalonian countryside, and the amazing forms in nature which impacted Gaudi's art. Occasionally, old black-and-white photographs of the city streets and people are presented, showing scenes of the Barcelona Gaudi lived and worked in. The wonderful, trippy music captures the shift in mood as the camera moves through a noisy, colorful crowd enjoying Parc Guell and then slowly zooming in onto the unsettling, hallucinatory giant sculptural forms that miraculously coexist with this everyday world.

I am not saying that watching this movie will be an adequate replacement for seeing the city of Barcelona and Gaudi's structures for yourself. But as someone who visited Barcelona but was discouraged from venturing into Gaudi's buildings by skyrocketing ticket prices and endless lines, I greatly appreciated this movie, which allowed me to glimpse the miraculous city and architecture through Teshigahara's eyes. Now go to Barcelona and make it your own.

"Only through the alternately eerie and euphonious score, Teshigahara seems to inject some hints of personal commentaries to the rapt viewers, whereas his camera dutifully observes, peers, scopes from varied distances and angles to establish a comprehensive visual overview of Gaudí's grotesque, sui generis, multifaceted art pieces, juttedly ensconcing themselves among our temporal existence and simultaneously distinguishing themselves from any possible angle of our collective gaze, and the most crucial impression is that Gaudí's buildings are never off-limits, they are built for the mass to gawp at, to spend time with, to dwell in, only occasionally, Teshigahara draws on imagery to suggest the possible inspirations which lead Gaudí's creative juice flow (the neo-Gothic influence for instance)."

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A magical, one-of-a-kind movie--a near-wordless 1984 tribute by the late Japanese director Hiroshi Teshigahara to the 19th-century Catalan architect Antonio Gaudi, whose ingenious, sensual designs grace the city of Barcelona. To call Gaudi's designs unique is to belittle them: His buildings borrow organic shapes from nature--the whorl of a seashell, the gnarled rigidity of a tree trunk--to create free-flowing forms of almost surreal beauty. Teshigahara's camera prowls the streets of Barcelona seeking the buildings, then lavishing attention on their alien curves, vaulted ceilings, and bizarre portals. The movie sounds dry, but the buildings are so fanciful and voluptuous that you can scarcely believe your eyes: They erupt from the city like weeds through a sidewalk, and their entropic strangeness becomes hypnotic. The director delights in watching people interact with these forms, as when a little girl roller-skates placidly through a forest of vertical columns. In his WOMAN IN THE DUNES, Teshigahara made moonscapes of sand and glistening crystals, immersing us in their texture; here he shows a similar fascination with everyday forms made shockingly unfamiliar. And his frequent collaborator, the great composer Toru Takemitsu, fashioned Catalan folk tunes into a haunting score that's at once ancient and futuristic, just like Gaudi's designs. A must-see for architects, for anyone intrigued by the possibilities of public art--and for anyone who wants to be transported to another world for an hour.

A strange and occasionally puzzling experience, Hiroshi Teshigahara's avant garde documentary focusing on the fascinating architecture of Antonio Gaudí is a real hidden gem. In a way, it feels almost like a film that tells a "story" entirely through shots normally used to set UP a scene, rather than shots that make up of the scene itself. Due to the film's nearly dialogue free style, we familiarize ourselves with Antonio Gaudí's own unique vision as well as that of the filmmakers as the camera glides through the architecture. Sometimes there is use of slightly uneasily hand-held camera movements, while other times the camera remains entirely still. Behind this collage of technique and structure is a haunting soundtrack that further adds to the film's meditative and hypnotic atmosphere.

Instead of human beings, this film's characters are made up of buildings. Although it may not sound likely, the buildings themselves manage to capture enough personality to keep patient viewers entertained. Every now and then, the camera also focuses on visitors to these enigmatic structures, more voyagers to share this breathtaking experience with.

This is a puzzling film. It's magnificently shot. But there is next to no information. If you did not know who Gaudi was, you would be lost. Turns out I was in Barcelona a couple of years ago and read up on Gaudi. The photography is stunning but I still want to know more. I saw a lot of Gaudi's buildings in Barcelona but had no idea there were this many. The movie tells nothing about the man. For example, his crypt. I think that's what it was. They never said. What was the story behind it. (Gaudi died after being hit by a streetcar.) His work was unique. Oddly enough, although he was famous, no one ever picked up and built on his style as they did with, say, Frank Lloyd Wright. If I was shooting a movie about an alien planet, his buildings would be the perfect set. They have a Ray Bradbury quality. You wonder what he may have been smoking when he designed them. Having said that, this probably would be right behind Rocky Horror Picture Show as an ideal film for toking up. It's well worth watching if only for the brilliant camera work.