I would disagree with you that Julie’s “passage into the molecular was momentary and, of course, altogether forced”. In fact Julie’s molecularization is facilitated by an ‘event’, the crash, which causes her entire understanding of herself and her world to be deterritorialized. I would argue that she experiences an immediate molecularization as soon as she wakes in the hospital to discover that her family, her identity has been taken from her. This process of molecularization continues through the famous sugar cube shot, at which points she begins a gradual movement through becoming-woman, becoming-animal and lastly, becoming-music as she realizes the score for her dead husband, who may or may not have composed the remainder.

 

Interestingly the score follows the same trajectory: it was 90% composed by Preisner before shooting began. As such the score goes through a need to be molecularized in order to re-enter the mise-en-scene and become-(film)music.

 

All best,

Gregg Redner