Divided into 12 short sections, including “Separation,” “Denial,” “Sorrow,” “Confusion,” “Longing” and “Return,” filmmaker Jay Rosenblatt explores his grief and loss of his younger brother, Eliot Mitchell Rosenblatt, who died over four decades ago in 1964.
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Finally, Jay! The best one I've seen of yours. Excellent narration and beautifully painful the allegoric sheep-shearing scene. How to deal with grief and loss. I
remember the poet saying: «the art of losing isn't hard to master / though it may look like (write it!) like a disaster.» #Bishop #poems
I liked it but it felt a little bit disjointed and all over the place. I was expecting a story about his brother (which it began with) but then it went off on a bunch of different tangents trying to fit too much in. I loved "No.8 Advice" set to some classical music and a slow mo sheep shearing scene!
I think that Jay Rosenblatt´s psychoanalyst might be not quite efficient. So much time, but the pain is still there, powerful. This film made me think that Rosenblatt is pure filmmaker, he compulsively needs to put his emotions inside films to process them. His jewish view of death reminded me the passion of Walter Benjamin, who also needed to put his emotions inside books -conceptually- to understand or try to.
Precisely composed & shot, & despite Rosenblatt’s brilliance as a confessional filmmaker, the film didn’t, for me, touch the core of what grief is. I, too, have lost a sibling, and came away from the film feeling it was more an anatomy of the stages of grief. The story of his brother is too oblique, it’s not close enough. It seems, rather, as his response to this terrible loss when he was young, a film of guilt.
Rosenblatt found comfort in repurposing images of people in mourning because he believed that that was his right -- he is a rightful member of the human race, same as everyone.
Phantom Limbs reveals itself as a cathartic, transcendent experience.