A complex treatise exploring feminism, motherhood and sexual difference in seven numbered chapters. Headings are: Opening Pages; Laura Talking; Stones; Louise’s Story Told in 13 Shots; Acrobats; Laura Listening; Puzzle ending.
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Every family is another planet, in spite of similar practices. Film’s use of median shots and electronic music renders a mother-child milieu as something so self-absorbedly alien, that it ends up being a dinsconnected space capsule , where any commonality of behavior is merely a deceptive outer shield. Aker-manic spans enclose zones of exclusive affection. Sound shapes the difference unequivocally: home, garden,
Epic poem, metafilm, antifilm, essay film, (not)essay film. So much you could say...straightforward Lacanian-Oedipal drama but I loved how it confounded *everything,* breaking it up/retelling it in episodes, text fragments, degraded film images. A lot of people apparently find this cold and 'theoretical' but I was spellbound the entire time.
PC. If in some aspects is dated, it's a film whose central block - of the Marxist perspective on women's and family role in the work society - is still of a formal conciseness: a structure in continuous panoramics, with or without direct sound and electronic music, where ihe text of image are a revolutionary attribute as the thoughts/words that are articulated with.
Putting your feminist film theory into practice does require a certain formal paradigm shift, but that whirling 360-degree pan (employed as a means to avoid the implications of the male gaze and to further destabilize the object/subject relation) sure felt like a one-note joke.