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Angela Schanelec Almanya, 2016
A ceaseless happening, allowing only for the collapsing, ever-sinking gazes of the characters and the camera pulsing in this blackout of a film, until all that remains is our helplessness in the face of life. Angela Schanelec’s The Dreamed Path is one of the best films of the year, a film about healing and change, both of which are invisibly stripped in the images.
Mayıs 28, 2018
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Every now and then, it’s not wrong to ponder on the nature of emotions in cinema. Why does an image arouse an emotion? In Angela Schanelec’s cinema in general, and in The Dreamed Path in particular, the flow of emotions is unleashed by a radicalization of the sensitive experience. Commotion is physical, more than narrative, and it demands a specific attention.
Mayıs 21, 2018
A film that creates its own language and defies our expectations of what narrative cinema should be from one image to the next... Every detail of its conception feels motivated only by the director's pure desire to follow her intuition, regardless of storytelling conventions or audience demands for clear explanations.
Temmuz 25, 2017
The ‘dreamed' path is ultimately a trope – as if out of a Robert Frost poem, ‘The road not taken.' We are invited to see the two women as reiterations, and to commune with a desire, oft expressed in Schanelec's oeuvre, to be someone else. Schanelec's deliberate taciturnity leaves small gestures and objects – a cap fallen in the midst of a fainting spell, a piece of a jagged shard, or a shoe dropped in haste, or despair – to speak for persons who can't or won't communicate openly.
Mart 15, 2017
This time-leaping, logic-defying drama, in which connections are tenuous and communication often thwarted, always intrigues, however vague its overarching import or elusive its apparent meaning. We should in any case welcome the opportunity to be challenged and frustrated by a movie. For every answer unprovided by Schanelec, a question fruitfully lingers.
Mart 14, 2017
The film operates so unapologetically on Schanelec's own wavelength that the film risks, even invites, utter bewilderment on first pass from even the most discerning of viewers. That the film adheres, upon close scrutiny, to the rough shape of a classical romantic tragedy—a seemingly intuitively understandable genre—only confirms the extreme degree to which Schanalec's idiosyncratic manner of storytelling skirts and frustrates expectations.
Mart 6, 2017
Within this severely constricted narrative, numerous objects and sensory details reveal themselves as unlikely conduits for experiential development. Like her most noted forebears (Bresson, Godard, Denis), Schanelec seeks to activate thought and sensation through economic, medium-specific methods, leaving explication by the wayside. Very little in contemporary cinema looks or operates like this.
Ocak 3, 2017
Chinese Cinemas
This film constantly provokes by denying narrative climax: but that's in a way the point. Godardian in its refusal to kowtow to ideologically prescribed pleasure, but entirely its own creator of beautiful perplexing shot after beautiful, perplexing shot.
Aralık 29, 2017
It's a hilariously severe film, The Marble Index of Bresson-damaged High European Art Cinema... In the tradition of Straub-Huillet, this is a movie that simply cannot conceive of, let alone care about, a hypothetical viewer who should be made happy watching this. It is very much Art For Art's Sake, and while that can be the excuse for a lot of garbage, its integrity of conception and intent is not up for question.
Eylül 22, 2016
There was probably no single film I've seen this year—in Wavelengths, at TIFF, or anywhere else for that matter, narrative or experimental—that has left me more befuddled than The Dreamed Path. By the same token, the experience of watching Schanelec's new film is something I can only describe as hypnotic. It is so rare that I am glued to the screen in anticipation, not for some plot point or a character's development, but literally for the next shot.
Eylül 20, 2016
Made of opaque tendrils of story paradoxically suggested through the utmost of precision (and prettiness) in framing spaces and her actors—each of whom deliver highly measured and mannered performances akin to those found in films by Robert Bresson—Schanelec adroitly and suggestively splits couples, splits people, splits time and space like the most subtle of atom-smashers, sending each off into the world to live and change and split again under the world's unseen pressures.
Eylül 15, 2016
Schanelec's films have long played at the edges of classical narrative, with, for example, unannounced changes in place and time. But The Dreamed Path moves around in historical time in ways that are innovative for her cinema as well as for the Berlin School with which her films are usually grouped. Although there has been a recent trend within the Berlin School toward historical material... nothing would have prepared for Schanelec's more radical becoming unstuck in time.
Eylül 14, 2016