This companion piece to 13 Lakes shares its sister film’s structural method and fascination with light, but this time rather than travelling the country, Benning steps out into his back yard and points his camera skyward and captures ten skies of radically differing look and hue.
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Benning works with an actor whose freedom is unquestionable, total, eruptive, the sky. It is like reverting director-giving-instructions vs. actor-receiving-and-conforming-to-them relationship. Here, it is the director who submits to the order of the actor, yielding his personal, whimsical vision to an order of necessity that would make no concessions to any directorial narrow imagination.
Nature is nature. Why would i want a "movie" (read a testimony) of the purest art form ? Humans cannot be able to even touch the perfection of this entity, and if i'd want to meditate thanks to nature, i'd be there, transcending. I cannot feel any power from this. It doesn't match with my idea of what art should be.
@joriah- I think implicit in the "time" quote is a partial point the artist wanted to make. One of the things I find interesting is peoples visceral angst towards things that dont satiate whatever expectations or latent aesthetic desires they have. If "art" followed my expectations it would have been Candyland as a kid, varying degrees of Deepthroat in my teens and, now in my 20s, dancing bottles of vicadin winking.