A twenty-minute, almost totally silent film (no dialogue or music one ‘shhh!‘) in which Buster Keaton attempts to evade observation by an all-seeing eye. But, Keaton’s very existence conspires against his efforts.
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aka SAMUEL BECKETT'S FILM, a great work of existentialism starring Buster Keaton. Screened at Pacific Film Archive, a long time ago, this one is burned into my memory long after other films have faded.
When Beckett meet Keaton,when two geniuses from different worlds came face to face."Film" is a challenging film,that can be viewed on different levels."E"(eye)is like a paparazzi camera,following "O"(object)recording his every move.It's the eye of the all seeing God,who knows our every sin.It's the one person we can never escape.Our selves!An interesting failure.
Une des seules expériences cinématographiques de Samuel Beckett, qui rappelle, bien sûr, son style épuré et ses obsessions théâtrales (ici la peur du regard) ainsi que le dépouillement rigoureux de ses décors, et dont la réalisation s'inscrit plutôt dans un certain cinéma proche de la recherche et de l'expérimental, avec un constant hommage au muet.
10 - I'm seen, therefore I am. Not merely a film about existentialism, but existentialism through film. Keaton, arguably cinema's greatest physical practitioner, is unable to evade the omnipresent eye of the camera, always behind him, betrayed by the very frame that made him who he is, while his own vision/being deteriorates. Observation becomes suspicion, and companionship persecution. Beckett remains Beckett.
Un incubo kafkiano.
Keaton incarna la deformazione interiore di un individuo arreso alla sua stessa vita.
Si concede solamente allo sguardo di una sedia priva di ogni giudizio.
Il testamento artistico di un pilastro del cinema mai troppo riconosciuto.