Echoes #12

From Hovering Over the Water (À Flor do Mar, João César Monteiro, 1986):

From Max mon amour (Nagisa Ôshima, 1986):


Part of our on-going series, Echoes.

Responses

6 responses to this post.  Join the discussion

  • Filipe Furtado

    One of Monteiro’s very best films. It’s good to see it being remembered.

  • Bobby Wise

    Love this series, but a short blurb to accompany each image would be very nice. Nothing too much. Just a snippet about the films and filmmakers and a creative way to connect the visions. Otherwise the pairings are a bit too abstract and a touch empty.

  • David Phelps

    Agreed, Bobby, though even if images aren’t words, they can stil tell a lot more than whatever story they’re supposed to be depicting. Which may be part of the point of both of these images: one in which the director enters into his movie about halfway through to hold his own narrative at gunpoint (though this, too, is overdetermined by the half-storyline); another in which an Oshima-Carrière puppet, basically a catalyst for whatever situation they’d like to see onscreen, acts similarly. And let’s remember the year! 1986, two years after Gremlins, parallel to Dante’s “The Shadow Man,” and still the dawn of Reagonomics the world over, as sunny images of nuclear families propagate economic policies that will destroy them completely.

    All of which is to say why I like words a lot less than images, since one is inevitably literal-minded, the other inevitably not. Leave these as seeds of other thoughts to parse.

    But you’re right they could probably use some words to signal outside of themselves. If it helps, these were the titles I played with:

    “Self-reflexive Cinema”

    “Nuclear Blast”

    “Lights, Camera, Fire”

    But maybe you see why those didn’t end up being used either.

  • David Phelps

    And thanks Filipe—agreed.

  • Bobby Wise

    Problem solved. We just need to provoke you to respond in the comments section!

  • David Phelps

    BW—you’ve beaten me at my own game!

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