A city is no less natural than an anthill, and here we have a nice cinematic metaphor which shows the human ants navigating the mechanical maze they have built for themselves. The symbiosis of man and machine is here rendered as beautiful as anywhere before. It also quite clearly signposts that rather than liberation by machine we were always actually seeking assimilation into the machine.
There are but a few things one could say about this movie without sounding like a pretentious dirtbag who's trying to impress his peers at an overpriced café. "Deconstruction of a non-fiction film" is probably as safe as you can go. A true guide for aspiring editors, stop-motion aficionados and people who like discussing reflexive filmmaking. It's also funnily inspiring and has a whole slew of derivated works.
I appreciate the innovations of this film. Having said that, I really do not understand why people could see this as anything other than a really good showreel. It's boring as fuck and essentially proves than cinema without narrative can carry nothing, except a sense of it's own importance.
Should we find ourselves in some godforsaken, post-apocalyptic future, where film is dead and long forgotten, let this be the one surviving print. A Rosetta Stone for the language of cinema. And film would be born again! Having said that (and risking blasphemy) I'm fascinated by the idea of a newer iteration of the project: (Person) with a Digital Camera; the linguistic evolution of film in the post-mechanical world.
Vertov wants to create a 'universal language of cinema' and sees himself as supervisor of this experiment. It is without script, actors or any such trappings of theatre & in many ways, it reminds me off Chris Marker's Sans Soleil with its connections and associations between images composing a world memory, a transversal and open whole.
A través de los años, como reflexión personal, he visto muchos videos y películas de diferente índole y después de consumir este hermoso trabajo me reafirma que a pesar del rango dinámico de las cámaras, ópticas cada vez más rápidas, sensores con mejor respuesta a poca luz, software de edición no lineal y un largo etcétera; la historia y cómo la cuentes, lo es todo.
Esta obra es una joya para todos los que gustamos del cine en general, y logra brillar más para los que gustamos del cine experimental. Cada año que pasa parece favorecerle, y a pesar de que el cine sigue nutriéndose mucho de la literatura y otras artes, en la actualidad es evidente que tiene su propio registro. Una obra imprescindible