kafka’s signature over-harassed, well-meaning but ill-guided protagonist, this time in america & navigating its invisible class mazes around the turn of the 20th century. highlights: the interpersonal storytelling en route and gorgeous static shots of averted gazes... starring... no shit, it’s harun farocki!
(3.5) Amén de ser un relato de Kafka, cinematográficamente no ofrece un gran interés. La cámara estática y los planos largos simplemente permiten evidenciar que los actores tienen presencia escénica y dominio del texto memorizado. Quizás dentro del contexto de la filmografía de Huillet/Straub sea valiosa y para conocer el texto de Kafka...más allá de ello, no es muy interesante que se diga.
Bizarre and oblique picaresque odyssey that's operating on several layers of unreality, from the European stand-ins for American metropoles to the strikingly dry performances (bringing to mind Benjamin's writings on Brecht's concept of "epic theatre"). Obviously a film that has more on its mind than simply bringing the viewer into its experience, and I got a little frustrated with being kept at arm's length.
exist EVERYWHERE, and H-S repeatedly and effectively demonstrate the discomforting nature of these by framing conversations in a stilted manner. The static long-takes that often isolate the protagonist from his "superiors" in the frame push the film beyond hyper-realism, more than often evoking (as many have pointed out) a sense of Brechtian alienation that our protagonist consistently sits with throughout the film.
Imposible de seguir el filme. Muchos diálogos no han sido traducidos en la versión española. Si a eso añadimos la dureza de la historia de Kafka, se entenderá que prescinda de ella. He calificado el film con 1* . Me hubiese gustado que fuese ninguna pero es obligatoria para hacer este comentario
A film from Danièle Huilley and Jean-Marie Straub that actually feels like a film, albeit a strange and sometimes impenetrable one (based on a Franz Kafka novel, so that goes with the territory). I actually enjoyed many individual scenes in this one, even if the whole thing didn't quite come together in a way I would have preferred.
In ‘Class Relations’ Straib/Huillet go on exploring the subject of the nature of oppression and domination in the human society but they do so from a different angle. Not only is this film surprisingly narrative and easy to follow but it is also deeply atmospheric thanks to its minimalist scenography, black and white cinematography and filthy urbanism that brings back images of Russian existentialism and naturalism.
Straub-Huillet deploy again, without concessions, their unique filmmaking method. This time, they adapt - or better, rebuild - Franz Kafka's unfinished novel. It is an existential terror, in which the main character is thrown into an unending string of absurd situations with absolute no agency, enslaved by circumstances. I would really like to know what Soderbergh thinks about this film.
While this may be one of the most accessible Straub-Huillet films, they stick to the core values that make them so special, with this being yet another damning critique of capitalism conveyed through austere framing and general rigorous filmmaking techniques.
my first reaction was to think of this movie as being dull, but after reflecting on it, I had to remind myself that a movie is not made for my enjoyment, my viewing pleasure or even to entertain me... with that being said, this movie accomplishes what it aims for perfectly
New German Cinema's fascination with 'Americanization' takes a relatively, by the standards of Huillet/Straub, conventional turn, close though to Fassbinder's stylized love/hate relationship to America. Kafka's novel is translated into sparse imagery in harmony with de-dramatized conflicts between authority and dignity of the self. Interestingly, the shooting in Germany, critically brackets America's mythical icons.
la mise en scène et les images sont couteaux. Les images impeccables. L'histoire est folle et peut-être manque de compréhension. Les scènes en plans fixes durs un peu trop longtemps. Des monologues qui n'en finissent pas. Mais malgré tout j'ai bien aimé.