Kamis, 19 Mei 2011

Victor Nieuwenhuijs & Maartje Seyferth - Crepuscule (2009)

Plot / Synopsis

"There’s an old maxim that goes: “Whom the gods would destroy, they first turn mad”. Crepuscule is a stunningly brilliant story about a nameless young girl’s slow and lingering journey from the daylight of sanity to the darkness of madness. And what a long, strange trip it is.
The brainchild of Maartje Seyferth and Victor Nieuwenhuijs (Seyferth wrote the script, Nieuwenhuijs shot it and both co-directed) Crepuscule leads us through the psychological twilight of an alienated and psychotic young woman as she slips thru the cracks of an uncaring society and reveals the deep and complex terror of being trapped in a mind which has severed any and all relationships with the public world of humanity.
And what a curious twilight Crepuscule shows us. From the first frames the intense stylization and enigmatic action soon sucks you into its vortex of symbols and meanings, its creeping darkness of inevitability. This is a story that gives you lots of time to imagine the worst, and imagine the worst you will."

A dark city in worrying black-and-white. An unreliable middle-aged man. And above all a subtle blonde girl who looks shy yet knows no shame. Join her looking in the mirror.

Crepuscule is a nice old word for twilight. Or perhaps even a little more than twilight; the time when dusk fades into night. This would be why the film is in black-and-white, because only black-and-white seems to have access to that which precedes darkness.
In the film, darkness descends on a young woman. Or better put: a girl. A silent, limber and beautiful girl. We are allowed to see her. All of her, while she explores her body in a mirror. Bravely played by Nellie Benner in a ground-breaking performance. She enters the city and the film closed and introverted. The film captures the girl from up close. Alone with the camera, the girl has no shame. She exposes herself. She dances. Strips, really.
She has a job at a gas station and none of her colleagues seem to consider her special. She keeps silent. All the same, an older man, whom cities just seem to be full of, does notice her. Effortlessly, actor Titus Muizelaar puts across this mans sinister traits. He does not need words, either.
The twilight eventually turns darker, the appealing jazzy music more ominous and the city more disquieting. The girl plays with a gun and then we have obviously ended up with Godard, but that is where the film had wanted to be from the start. To be cinema, primarily.

no pass

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