Zerkalo (Mirror), Andrei Tarkovsky, 1975.
The woman, water, maternity. Some incredible images I didn´t remember. for example one of the first scenes where the children are, when the house in front of theirs is burning, the children come from the table where they were eating and stop in front of the door where the house is on fire, a curtain hangs and flies with the wind in between us and the children, a huge bottle of water, size of the smaller child, is by their side. beauty. and some scenes I am sure I haven´t ever seen (maybe a problem of transposition to another media?). many small details.
the children, after being mother I had another perception of them. the camera has eyes only for her. the mother. also all the others are there, most of the time that´s what we see. and himself. small, 3 years old. a bit older, the feet full of mud.
love. that can not be complete, it has to be apart. the father is always coming and going away.
also the whole time the beautiful different kind of films gives variegated moods and atsmophere for the light (its so powerful here, much fire) there is a moment this is so clear because it´s opposite to one another, and it´s a “dialogue”: two women arguing, when the camera is on the face of one of them the film has a green colour, the other´s more blue or gray. he paints with the colours of his scenes. in this case it gives a very nervous rhythm, hectic.
I guess the films are treated in a way to change their colour? or would be different kind of films? I have no idea how this is made in terms of material, but for me do not seem like just a light effect. I see it on the quality of the material itself, but maybe I am wrong. IF someone there has any idea, please, welcome!
and yesterday he said in a interview they played there, the only authours on the cinema will be the ones that create its own world. like poets. and not those who only reproduces our world.
A very new thing for me was when he said his movies are to be an spiritual meeting between the essence of people (also this should be alike with all real art, I think, I didn´t know he used to say this so declared, also one of the actors was there at the first day said the same, that T. used to say people should experience a moving on their spiritual being with them.
and at the end of the doc. yesterday they notice something very poetic and very dear to me: if we take the first scene of _Ivan´s Childhood_ (considered his first movie) and the last scene of _The Sacrifice_ (his last one), his whole work happens between the images of a boy by the side of a tree.
Filmmuseum & Pasolini
One of my favorite places in Vienna is Filmmuseum next to Albertina Museum. Because they always play great movies from all times. There is, for example, a series called “Was ist Film” programmed by Peter Kubelka that plays movies since the beggining of Cinema till now: while the serie is unfinished, because Kubelka is still adding new programms – I was at the last one some weeks ago when he himself presented the filmmaker Günter Zehetner and spoke about 8mm films – they always start from the first programm over and over again.
I was doing 2 pictures of Kubelka, because for someone that loves Cinema like me, I just could not let it go the opportunity to do a photo (or whatever this seems to be) of the art film director considered to be one of the best alive 😛
So, with you, the resemblance of Herr Kubelka:
But I do not want to speak today about Kubelka. I want to speak about Pier Paolo Pasolini (1922-1975), because they are playing his movies at the moment in Filmmusem, and I wanted to speak a little about him here since it started, but I didn´t have the time. If you are from Vienna you still have a chance to see some of his films.
Pasolini is always somehow shocking, he provokes your emotions and thoughts, it´s impossible for me to go out of his movies without something had changed inside me. Although this is not a good example because it´s a very strong movie, after I left the cinema when I saw Salo, Or the 120 Days of Sodom (1975) I was walking without direction in Sao Paulo for almost 15 minutes before I realized I was lost. Completely spaced out.
And by far one of my favorite movies is Medea (1970) starring opera diva Maria Callas. All the movies of Pasolini from the ´70 based on the Greek tragedies (he also filmed Oedipus Rex) or on literature (like The Decameron) are so special for me, because he really creates such a different atmosphere, the costumes, the locations, the music, the objects, the actors that usually are not professional actors but people invited by him to act, he makes it in such a way that a whole new world is created and turned “real” in front of your eyes. The landscape in Medea is so powerful to help on this goal (he shot much of this movie in Cappadocia, not too far from the location of Colchis, whith these houses made of earth bilded up by the cliffs in the middle of the desert), that when the movie finishes you feel like you really was by a fabled, magic, mysterious and mythological world. Great movie. Next Sunday at Filmmuseum. Someone there wants to come along? 😉
Maria Callas as Medea
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