A silent homage to the origins of cinema, recreating the apparent disappearance of a French photographer in the 1920s. -IMDb
José Luis Guerin was born in Barcelona. He started his career directing experimental films from 1975 to 1983, then directed his first feature film in 1983, Los Motivos de Berta. His film received a special price at the Berlin Forum. In 1988, José Luis Guerin directed the Spanish episode of City Life – the other episodes being directed by Reichenbach, Kieslowski, Agresti, Tarr, Sen et Rijneke. City Life was awarded in Berlin, Rotterdam and Montreal Film Festivals. In 1990, José Luis Guerin directed Innisfree, presented in competition at Cannes International Film Festival. In 1997, Tren de Sombras – presented during the Directors’ Fortnight in Cannes – obtained the Golden and Silver Melies awarded by the European Federation of Fantasy Film Festivals. Then, in 2001, José Luis Guerin directed En construccion, awarded in San Sebastian Festival and, in 2007, En la ciudad de Sylvia, selected by the 2007 Venice Film Festival. —dissidenz.com
like Sylvia could be real, but she doesn't have to - what's the difference? same here, what's the difference between shadows of things and "real" things? on one side we have Arthur Rembaud, that same Rembaud who wandered his entire life in a search for so many different state of mind and soul, living surrealism, like Breton would say. on the other side, we have Fernando Pessoa and more than 70 different names
he was writing under, more than 70 different lives, more than 70 different views on life. Same Pessoa who never left Lisboa. My favorite sentence ever would illustrate that perfectly - "i do not paint the Being, i paint the Transition of being" (Montaigne) it's like unbelievable richness of inner life in Henry Darger (and that's where the beauty of that film is, not in valuation of his art), or even like Pirandello who also had (not that extremely like Pessoa, though) same need to split his own being in many others. and it's same when José Luis Guerín asks if the power of imagination can be that strong to be complete substitute. i often wonder if i'm Rembaud or Pessoa and i think that too often i want to believe that i'm Pessoa when i'm actually Rembaud.
Stunningly beautiful if a little sombre at times. Like a lovely melding together of Patrick Keiller, Midsummer Night's Sex Comedy, and Blow Up. Guerin reveals (and revels in) those temporal, ghostly shadows that underlie film-making, the 'thingness' of film brought entirely to the surface and made sensual. I got chills during the freeze frames. Art as artifact--that is, full of unseen, undetected history.