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Eleştirmen yorumları
Der traumhafte Weg
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.
May 28, 2018
Yazının tamamını oku
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.
May 21, 2018
Yazının tamamını oku
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.
July 25, 2017
Yazının tamamını oku
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.
March 15, 2017
Yazının tamamını oku
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.
March 14, 2017
Yazının tamamını oku
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.
March 06, 2017
Yazının tamamını oku
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.
January 03, 2017
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.
December 29, 2016
Yazının tamamını oku
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.
September 22, 2016
Yazının tamamını oku
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.
September 20, 2016
Yazının tamamını oku
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.
September 15, 2016
Yazının tamamını oku
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.
September 14, 2016
Yazının tamamını oku
With its imitations of Robert Bresson close-ups, pointless references to European political change, actors talking about acting, junkies who are never seen doing drugs, “unexpected” pop songs, and deliberately obscured narrative (probably because—wait for it—it has the arc of a bad Victorian social novel), Schanelec’s studious bore seems intended for an audience of people who write film festival catalogue descriptions.
September 13, 2016
Yazının tamamını oku
Schanelac has carved out a style of exacting mise-en-scène and disconcertingly affectless performance that clearly suggests Bresson. But in lieu of his steely-eyed precision, Schanelac opts for the abstruse and enigmatic. Spanning some thirty years… The Dreamed Path covers a lot of ground, and yet its wholly unknowable characters curiously wear the same costumes throughout, while every gesture and line of dialogue returns us continually to the fundamental ambiguity of being.
September 06, 2016
Yazının tamamını oku
Perhaps the freshest and most profoundly emotional film that [Schanelec’s] ever made. In a crisp, 4:3-framed digital presentation, and featuring line deliveries and behaviours more affectless (or, if you’d rather, more “Bressonian”) than usual, Schanelec not only stays true to the aesthetic and philosophical tactics that made up the foundation of her work, but ups the ante on them in nearly every sense.
September 03, 2016
Yazının tamamını oku
Maybe, however, Angela Schanelec’s The Dreamed Path and Milagros Mumenthaler’s The Idea of a Lake were simply too opaque to unfold properly in the rhythm of a festival, even one as laidback as Locarno can be. Still, I couldn’t really help feeling both were very clear on how they wanted to say their thing, but not so much on what they wanted to say.
August 19, 2016
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Schanelec has never enjoyed the same attention of many others awkwardly subsumed under the banner of the Berlin School, a fact which this bracing new work will hopefully change. To tie her austere, yet deeply felt vision to a particular trend is anyway a denial of its pure singularity.
August 14, 2016
Yazının tamamını oku
A demanding film, even more so than Schanelec’s previous work, but the challenge is legitimated by being commensurate with her thematic ambition: to dissect the torturous dialectic between the universal human need for connection and the invisible forces that inhibit its fulfillment.
August 12, 2016
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The best way to tackle Der traumhafte Weg is to proceed, scene by scene, with a description of the shots, of how within the shots the characters are framed, how the characters gaze, how they hold their bodies… In other words, it is an Angela Schanelec film, where attention is required and rewarded, and the characters are at the mercy of the elements of chance.
August 09, 2016
Yazının tamamını oku