Hynningen (Swedish for ‘honey roof’) begins with long multiple exposures of a landscape with a clearing, opening up to the horizon. In the middle of the clearing there is a simple log cabin of the type characteristic of Northern Europe or Quebec. There are actors a man and a woman – at the window, at the doorway, strolling in the grass, doubled or even tripled by multiple exposure. Traces they have left at different moments of the day and in the changing light appear as gentle phantoms. If our varying perceptions would outlast changes in location we would experience a strong sense of continuity and of repetition. This visual counterpart to the imperfect tense in grammar is amplified by three high tones on a background of sinus curves. These gradually reach a higher pitch. But this isolated house, filmed in the almost silent density of a Baudelarian ‘Afternoon without end’, that seems as if made to accommodate peace and meditation, does it not attain a sudden, bewildering presence? If it is true that the term ‘to be’ originally means ‘to live’ and ‘to unfold’ but also ‘to dwell’, taking into account both Indo-European roots (es, bhû) as well as the Germanic ‘wes’, is one not, on seeing this dwelling place, invariably reminded of what Heidegger said about Man as ‘the keeper of his being’? Is this honey roof not the place of sheltered existence? No matter what Nekes himself thinks about his films and no matter how dominant the primacy of technique and structure, has he not with DIWAN begun erecting a metaphysical oeuvre, in which unto the cinema is bestowed the task of concealing and revealing existence as such? This is precisely the purpose that according to Heidegger constitutes Man’s oppressive privilege, Man who is subjected to the painful experience of boredom and of Angst. The end of the film is as cheerful as it is mysterious: we are led into the house with the honey roof. In front of a window, open as in the paintings of Magritte, the inhabitants walk, in multiple exposure, naked and silent… –wernernekes.de
Werner Nekes is a German director, actor, and producer. He was born on April 29, 1944, in Erfurt, Germany. Nekes has directed movies such as Johnny Flash, released in 1986, Uliisses (1982), and Hurrycan (1979). As an actor, Werner Nekes has also been seen in movies such as 00 Schneider – Jagd auf Nihil Baxter, released in 1994, in which he portrayed Mann in Schwimmkleidung, and Uliisses (1982). Werner Nekes has also produced Hurrycan, released in 1979.
the details of the sky sharpen as the ghost of a figure is superposed over a window disclosing an unexpected dimension of an interior space more than an exterior one. the other as a window onto the world and as condition of knowledge, of world`s transparency and understanding, which can lead on to husserl`s idea of intersubjectivity.