Polar opposite of Not Reconciled. The camera remains largely stationary as characters we don't know ramble on and on about events we don't understand. Modern day backdrop implies that the political squabbles in classical narratives are still with us, but it's hard to analyse further when everything is so punishingly dull and difficult. I had to take breaks to save my brain. But I didn't hate it. Maybe that's enough.
I like Oliveira, I like Bresson, enjoy Passolini, stick with Debord, love JC Monteiro who was a S-H huge fan, have basked some of their shorts. But this is a very limited joke. There are a couple of ideas and a literary piece behind, but it's mostly a ruin. Behind soundwork there may be half an idea. My second star is out of respect for the household names. Most voters may have added more than one. PLEASE FIX SUBS
Dedicated to the French people who were never able to attend a play by Corneille, the deliberately sparse subtitles puts us in a similar (but different) position where we don't fully grasp while watching this meta-representation of "Othon". Even for francophones the rhythm in which the lines are delivered makes it a bit difficult to follow. However, it is a very well staged and framed plot of love and politics.
C'était très beau, mais aussi un peu difficile à suivre... en plus, je ne suis pas arriveé à le voir jusqu'à la fin! Quel dommage! Dans ce cas, même, les sous-titrage c'est du bricolage de pauvre. Heureusement, je connais la langue, mais il y a franchement trop de lacunes dans la traduction...
A number of viewers have missed that it is not MUBI who had not subtitled everything, but that this was an intention of the filmmakers. Regardless, I doubt Brecht would have approved of this, quite the opposite, a gentle misfire of the great filmmakers, or, read Corneille instead, this adaptation has not quite justified itself.
Unlike an ordinary narrative film, for JMS&DH, the space comes first then the time follows. For them, cinema is not about the imageries but listening and feeling the eternal present called the space. The real time only belongs to the audience. Film that leaves the time to the audience and alone represents how to really exist in space. In between the gap, we might begin talking about cinema for the first time.
Ignore my rating. I don't know who does the subtitles for these directors, but if a person is talking, there should be words at the bottom of the screen. Don't decide for me what's important to translate. If the guy says, "Excuse me I have to go to the bathroom." I want to see the words!
Esta cinta es 95% diálogo; las líneas son leídas, con cero inflexión, a una velocidad que no permite asimilar lo dicho. Además, los están subtítulos incompletos. Creo que va de un amor impedido por motivos políticos, conspiraciones y muchas disertaciones. Interesante concepto, interpretar una historia de la antigua Roma en las ruinas de la Italia contemporánea. Pero un concepto no hace una película.
All at once, both astoundingly, freakishly creative and also sadistically dry, academic and austere. I'm glad that Straub-Huillet had the audacity to make such films, that such films exist in a world littered with formulaic entertainment, but I have to admit that it is difficult material for me to ingest.
A perplexing film but interesting for its juxtapositions and approach. The subtitles were a challenge, often too fast and other times absent (Straub/Huillet did the subs so presumably deliberate). The ostensible contemporary resonances were evident but to what end? The film seemed more an exercise in anti-theatre, the play merely a vehicle, and that was the element of interest for me: the 'style' of the film engaged.
I can't really rate this as I could only watch a little of it before being defeated by the subtitles, which are incomplete in the extreme. The actors' lack of affect forces the attention away from performance and towards the text (and how the directors interact with it). If you're not fluent in French, this is impossible to follow. I think I should read the play first before attempting to watch the film again.
With all of the dialogue too dense, and with about 1/3 of the subtitles missing, this would be a lot easier to focus on and meet halfway, in terms of the effort required, if the cast weren't so lethargic and looking as if they would rather be doing anything than acting onscreen. Not one I would recommend to anyone but the most determined academics.
Je n'ai pas tenu plus de 2 minutes. On ne comprend rien. Rome ne s'est pas faite en un jour certes, la décadence culturelle non plus. J' augure du pire, mais je me trompe peut-être. Essayez, si vous voulez. Eux ont essayé, on peut au moins les féliciter pour cette noble initiative, mais n'est pas impérial qui veut.
In adapting Pierre Corneille’s OTHON, a 17th century French tragedy set in ancient Rome, setting it out in the open in the contemporary city, Straub-Huillet naturally participate in something like estranging superimposition, an extrapolation of elements from Brecht. The deeper genius is suggested in their long title: with our illusions and our feeble pride we have always tended to practice a politics of inertia.