Nicola asked: "Both (Lilja 4ever and Irreversivble) are pretty bleak films.
Which do you find more disturbing? Which is
more experimental?"
I haven't seen *Irreversible* (and I don't want to change that, because I
don't think it is very experimental). But I've seen *Lilja 4ever*, and I
didn't find it very disturbing. Nicola writes about becoming a lucid voyant
in *Lilja 4ever*, whereas I felt indifferent towards this film. It was too
much of an arthouse cinema experience with too little irritation. If I got
to see such a film I have to anticipate to become depressed, so there is
nothing surprising about it. Though I felt compassion for poor Lilja, I had
the impression that what was done to her, was done to her by the film, for
the sake of art. So as an arthouse cinema viewer I somehow became myself the
source of her sufferance, and I hate that feeling. Nicola seems to suggest
that there is something in the film's aesthetics which moves us to reflect
about or status as viewers, and this prepares us for being deeply moved at
the end of the film. But I was angry at the end, because I was so little
moved. I was angry about the director, I was angry about arthouse cinema,
and though I may have also been angry about the world on which Lilja's
sufferance was based, it wasn't enough to be protected by a troubling
indifference. Moodysson was trying to give the film and its depiction of a
grim reality some kind of transcendence, but to me it turned into pathos. (I
think Moodyssons *Together* , which I loved very much, avoids a clumsy kind
of pathos).
I like being disturbed and attacked by a film but I wasn't very much
disturbed by this film. I don't claim to be right about my impression of
this film (it depends very much on the context of viewing) and I have no
right to say that Nicola is wrong about her impressions, but I wonder (I
always wonder) about how much I and others differ in the valuing of movies.
Are we so different as the judging of movies seems to suggest?
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