Doc Lisboa 2016. Like Alain Resnais films about the revisionist impossibility of an existence in loss ("Muriel" and "Je T'aime Je T'aime"), in which the recurrence of memory movements are made of a interwoven editing, here a higher irony of a remembrance about a lost love is the revelation of a complex materiality of the narrative forms, finally realizing an unity of (the) time, that admirable disruption.
I loved the perspective which was quite literally photographer's one. What he says in his letter sounds so sincerely that with the help of the fact that Egoyan plays one of main roles the difference between reality and fiction gets very blurred. Using foreign languages without translation proved to be excellent way to highlight how alien all the surrounding people apart from his wife are to him
On aime particulièrement l'histoire et la perspective avec laquelle elle est filmée. En Arménie, un photographe prend en photo de magnifiques églises, accompagné par sa blonde (sa traductrice) et un chauffeur de taxi (qui lui parle des lieux historiques). Peu à peu, il capte l'effondrement progressif de sa relation, alors que sa blonde se rapproche de plus en plus du chauffeur de taxi. Film étrange et magnifique!
Cultural difference. Relationship breakdown. The passing of time. Only very occasional breaks from the rhythm, Egoyan urges the viewer into the seat of the photographer through a changing POV, a close up, and the telephone. Beautifully composed shots stand in harsh juxtaposition with the ugliness of the narrative. Interesting sound use, especially the un-subtitled foreign dialogue and the role of the answer machine.
Very organic cinematography and atmosphere. The experimental narrative structure took a bit of time for me to accustom. But it fittingly gave a sense of clutter without distracting the viewer(listener!). Interesting discussion on themes of belonging(to a culture), closeness in relationships, and what pragmatism & sitting behind an observing lens do to us. Deserves a re-watch.
Egoyan's fifth feature made for an extremely low budget may be his most inventive and innovative film. It's structure and playfulness almost seems like deconstruction of narrative and expectation, in what is a straight forward triangle story. Made between 'The Adjuster' and 'Exotica' the film couldn't be more different then either.
This film is a real treasure. Like Godard with more warmth. A self-depreciating, yet touching meditation on filmmaking, the (inherent?) arrogance of representing others, the estrangement of filmmaker and subject, and a poetic deconstruction of the medium's manipulation of time and space, the seen and the unseen, the remembered and the missed.