Started by Just Withnail, June 16, 2010, 12:57:38 PM
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Quote from: WorldForgot on October 03, 2021, 12:50:30 PMBeautiful film!!! Your consideration of our online irreal ontology iz potent. I love the visualizations in the first act and even more so how they juxtapose the rest. Great work. Very inspiring.
Quote from: WorldForgot on October 03, 2021, 12:50:30 PMI'm currently working on a short film myself with a bunch of inserts and digital visualizations. This feelz like a wave that's close to cresting in terms of representing the modern dilemmas of multiple obligation-planes.
Quote from: Drenk on October 05, 2021, 08:52:37 PMThis is terrific. As usual, I am overwhelmed by your work. It's absolutely on my wavelength.
Quote from: Drenk on October 05, 2021, 08:52:37 PMI'll start with the main character—how I perceive her self and her main motivation—as a way to get into the details of the film: K is trapped in a digital and neoliberal hell, a predicament that may be responsible for her scattered mind, and is therefore looking for personal change as if it could change reality/her reality. It seems like an impossible task. But what else is she gonna do? Change the world? Change your life and therefore change the world? Change your life/ or change the world? You feel more in control of your individuality, there are easier margins for changes there, but I kept thinking: "There's nothing you can do to stop that noise in your head".
Quote from: Drenk on October 05, 2021, 08:52:37 PMMovies are where you watch stuff. Right? Nobody will debate this definition? And digital space is a distraction from stuff, yet is also stuff...So how do you depict distraction? This is hard, and that must have been a headache, but this works there with the integration/invasion of digital space in the screen, mixed with the hectic editing. The animations added eeriness. I always come back to that word with your work: the eeriness of reality and of mental spaces and the way they intertwined. I loved the shreds of her phone. I think we talked about scrolling through Google Maps in this thread, so I enjoyed everything with the maps! Abstract fish. Abstract world...
Quote from: Drenk on October 05, 2021, 08:52:37 PMWhat's great about Norway is the respite, yes, it slows down—wider and longer and slower shots—and then the unease creeps back in. Her mind is her own screen. That's when I started to see the struggle as an everlasting struggle, which makes her decision to become vegan as a desperate attempt to change her life as sad as funny. I'm not mentioning how this is *also* a love story, and a fucking romantic and harsh love story. The drama is in the thousand beautiful details your fisher's eye keep catching. In the actors bodies, the situations, little lines of dialogue. It rang true. It felt true. I remember the way he laughs when K is freaking out in the boat, and how you know this is the way he's always laughing when something similar happens. All the irrationality makes sense. There's flesh and blood in the game. I'm never bored.
Quote from: Drenk on October 05, 2021, 08:52:37 PMThe restlessness of her interior monologue coming back in Norway is fantastic, there's also the beginning of a "minor" psychotic break with the other, mystical voice. I was reading the subtitles but it went so fast that, especially in the first twenty minutes, I was often missing stuff. But it made sense. And I had her voice as background noise. I liked the ending, there were subtle changes but it leaves us hanging in the struggle...And that rings true, too. Oh. And a character being so dispersed that she can't feel herself present, whatever that means, is also at the center of a novel I've written, which ends on the same word, or the same idea, anyway...There instead of Here. Because this is constantly shifting from Here to There, so what does being present means exactly?
Quote from: Drenk on October 05, 2021, 08:52:37 PMOne more thing: shoutout to the sound design! It holds all the pieces together.