The New Help
Junkies act like People
Fix no Cure
No moving parts - thinking about the tape, vinil, cassete, cd - now the sd cards - tehnology changes thinking, ch philosophy
Normative (roles the World)
Mistical intuition of scientific truth
No days no months no years
24 degrees celsius
People are toys
Only the recorded life is fufilling
(real) - bidemnsional reality
The 3rd chapter
Life is electronic
person and Place
Character and action
Fear made me selfish
I like pink foods
I am not one of you
Fixed matrix of spheres
Izometric - care pastreaza distanta a doua puncte oarecare - contractie a unui muschi fara ca acesta sa se poata scurta, raminind la aceeasi lungime
Have a break
I am not one of you
I wanna be a sitting duck
The body manipulates the mind
Falling of the table
The Cheruvim robot in Eden
Infundat in gind
Pain is consequence
The un-reality of real life
Un tuned society
Don't be afraid of the ugly
My brain is not active
Unificarea creierului mama
Art as pet
4 personaje in deep muted suffering. 4 personaje cu sufletul deschis in fata greselilor si abuzurilor bunatatii si dragostei celorlalti.
VIETATI - a film about holding on so painfully on that little thing that makes us human.
Un film despre o fata care care atinge limita existentei ei, o fata care se crede moarta, care trece prin Bardo. In acelasi timp este o calatorie printr-o relatie complicata despre cautarea unui inteles al dragostei, after the damage has already been made.
"Eva s-a trezit dar nu a deschis ochii inca. Asculta linistea din camera si de afara. Simte ca este prea dimineata dar nu mai poate sa doarma. O oboseala calda ii deschide ochii mari si frumosi, numai pe jumatate. Viseaza si este treaza. Isi simte gura incarcata cu un miros greu. Ochii plini de puchi si pielea matuita. Nu ii place de loc de ea. Vrea sa se ridice si sa se duca sa se spele – sa invie. Dar este bine in pat sub patura calda si pozitia ei este asa de comoda... Patul se misca. Teo se ridica incet. Este frig." post-cinema cinema du corp non-drama .
All the good people want to make this world a better place. More beautiful and hopefully happier.
But let us supose all the world has became beautiful. What now?
How would the people think, feel, desire? What kind of people would be?
Would the people see all as beauty. Or would a sort of general beauty be posible for all?
A post-human world.
international in setting, culture, social
meta in purpose
focused on inner experience and turmoil
It is another kind of performance, another kind of looking at a moving image. It is an image. The actor plays himself as acute and deep as he can. The characters have open hearts and vulnerable souls. It is not what they do but what they feel. Is the story of a feeling.
Is narrative art that explores feelings in emotional form. Is not about behavior anymore. Is about the extension and expression of special feelings.
No more Love and Dread. Our inner universe is so much more than that.
Is not action, is only emotion.
The spectator is involved is not only shown something. He has to figure things out. He has to make his own mind.
There is no ending, no conclusion. All stories are open. For our lives are always open. Always surprising.
Is another kind of outlook on life.
Another great review for Sleep Awake, this time in Italy.
“Ogni lingua ha un suo silenzio” (Elias Canetti) “Il silenzio è il linguaggio di tutte le forti passioni, dell’amore (anche nei momenti dolci), dell’ira, della meraviglia, del timore” (Giacomo Leopardi, Pensieri). Tale considerazione sembra permeare l’intera essenza di Sleep Awake, opera prima e indipendente del cineasta rumeno Andrei Stefanescu. È un’atmosfera dal forte sapore pinteriano a scandire l’incontro tra i due giovani protagonisti, Irina e Ilie, i quali si scrutano intensamente al parco, intavolano un fugace dialogo e decidono di “consumare” il loro primo ed unico rapporto sessuale fino all’inaspettato epilogo che segnerà la vita di entrambi. Ed è un interminabile silenzio tra un dialogo e l’altro a metaforizzare il turbamento interiore della “coppia per un giorno” e a cadenzare l’espressività e gestualità dei due giovani. Un vero e proprio cinéma du corps, dunque, quello proposto da Stefanescu, concettuale e sensoriale allo stesso tempo. Onirico e viscerale, Sleep Awake si avvale di uno stile strettamente amatoriale (evidente è l’utilizzo della camera a mano per buona parte delle riprese) e documentaristico, con ampio spazio all’improvvisazione recitativa e a brevi ed incisivi monologhi.
Caratteristica dell’opera prima di Stefanescu è, inoltre, una dilatazione e scansione dei tempi narrativi secondo una logica naturale più che filmica. A tal proposito, si pensi alla passeggiata dei due amanti verso casa di lui prima dell’atto sessuale – il tutto cronometrato nei minimi dettagli e con un dosaggio centellinato del montaggio. A fare da sfondo è un utilizzo minimale della colonna sonora, presente in sole due scene chiave del film e intervallata dal suono diegetico di un cellulare che squilla. Attorno al vuoto esistenziale dei due giovani si dipana la desolazione di una Bucarest indifferente e spettrale, quasi ad omaggiare l’immagine straniante della periferia francese ne L’età inquieta del cineasta Bruno Dumont. Ed è proprio la città la terza protagonista della pellicola. Deserta e distaccata, fatta di graffiti e di quartieri notturni dalle mille finestre e dai portoni monocromi in stile anni ‘30, Bucarest sembra scrutare i due protagonisti con la sua enigmatica freddezza, quasi fosse un fantasma omnisciente a vegliare su di loro. La sua unica presenza nella notte si manifesta nella nebbia serale che avvolge i corpi di Irina e Ilie, quasi a separarli anziché unirli, sigillando così l’incolmabile vuoto comunicativo tra di loro.
english: "Every language has its own silence" (Elias Canetti)"Silence
is the language of all the strong passions of love (even in the
desserts), anger, wonder, fear" (Giacomo Leopardi, Thoughts). This consideration seems to permeate the whole essence of Sleep Awake,
the first work of the independent Romanian filmmaker Andrei Stefanescu. This
atmosphere has a strong flavor Pinter to mark the meeting between the
two young protagonists, and Irina Ilie, who is peering intently at the
park and attempting a fleeting dialogue and decide to "consume" their
first and only sexual intercourse until 'unexpected epilogue that will mark both their lives. And
it is an unending dialogue between silence and the other to create a
metaphor for the inner turmoil of the "couple for a day" and punctuate
expression and gestures of the two young men. A real cinéma du corps, therefore, that proposed by Stefanescu, sensory and conceptual at the same time. Dreamlike
and visceral, Sleep Awake uses a strictly amateur style (evident is the
use of hand-held camera for most of the shoot) and documentary, with
ample room for improvisation of acting and short and incisive
of the work before Stefanescu is, also, a dilation and scan times
narrative according to a logic that more natural filmic. In
this regard, we think of the two lovers to walk towards his house
before sexual activity - all timed to the last detail and with a dosage
sipped assembly. In
the background is a minimal use of the soundtrack, present in only two
key scenes in the film and spaced from the diegetic sound of a phone
the existential emptiness of the two young unravels the desolation of a
spectral Bucharest and indifferent, as if to pay homage to the image of
alienating the French suburbs The Age restless filmmaker Bruno Dumont. And it is the city's third star of the film. Deserted,
detached, without graffiti and nightclub districts with thousands of
windows and doors in monochrome '30s, Bucharest seems to scrutinize the
two protagonists with its enigmatic coolness, like a ghost omnisciente
to watch over them. Its
only presence in the night is manifested in evening mist that envelops
the bodies of Irina and Ilie, almost to separate rather than unite them,
thus sealing the unbridgeable communication gap between them.
Art is for people that have money, or act as if they have them. People that need more than utilities and comfort. People that need complex, esthetic and sometimes challenging new things.
Nobody that has money or wants them will watch a QualiaFilm because we can't show them anything beautiful in our films, we use only leftovers, trash an worn out objects.
No one that fears, respects or believes in Church and its Laws, because we brake the laws of decency and respect to test our ideas, feelings and relationships out there in the 'open space'.
No one that fights and work for their house, food, children and social status, because our characters always want to brake free from their 8 to 5 life. They all want to find the Other Life. Toe one hidden behind our minds.
No one that loves and yearns to win, to have, to power and control, because we hate competition, without it we can open new doors or perception.
Spatele unei femei care se spala. In cada. Baia are un geam mare prin care intra lumina desi cada este in intuneric. Totul este invechit, fainata odata alba acum ingalbenita, cada cu email rupt, covorase murdare pe jos. O oglinda cojita sub care un raft de sticla murdara si citeva sticle de parfum si de fixativ. Un pahar colorat de periute de dinti si o singura periuta. Pe masina de spalat sint hainele ei aruncate si citeva ziare si citeva rebusuri si un creion cu guma la celalalt capat. Este o femeie trecuta cu pielea moale care ii atirna, o spala ca si cum ar vrea sa si-o puna la loc sa fie din nou intinsa frumos sa poata iesi afara din casa fara sa se simta vinovata si handicapata ca nu mai are cu ce sa atraga privire din jur. Oglinda este aburita. STEFANA isi spala calciiele cu o piatra ponce innegrita de vreme. Cu ea se spalau si copii ei cind erau mici. Detaliile unei femei care se spala in umbra. (Ferestrele sint aburite, afara se vad masini care trec, niste forme fantomatice care nu se aud deloc.)
For me film is about the gesture of looking. About the feeling of looking at an unreachable point. Film/screen, moving image is touch.
Is a personal, emotional, point of view about forms. An exercise of reaching inside other people's soul, beyond their own consciousness.
Beyond any form or object. Into its own otherness. Purity covered by the machine.
Man portrayed on the stage is significant as a social function. It is not his relationship to himself, nor his relationship to God, but his relationship to society which is central. Whenever he appears, his class or social stratum appears with him. His moral, spiritual or sexual conflicts are conflicts with society.
I am not saing 'this is it', 'this is the way' - I say 'this is worth exploring', 'this worth finding what it is about, dealing with it, playing with it, fighting with it'
I am not a preacher, I am an explorer. I don't have answers, I have only interesting questions.
"In Rio das Mortes, I realized for the first time that Rainer was fully in charge as director. He stylized Hanna and Günther Kaufmann not just on film but right there in real life. The way those to acted—nobody talks that way and nobody walks that way. If finally understood that he used this artificiality as a tool. That was something special."
Linear A is a story about an experimental noise music band made up of Linn (m) and Valerie (f).
They set up for a performance at an abandoned locks. Omondu (m), their friend films them, more against their will than being happy to be filmed and promoted by someone.
Somewhere far away, over the locks, during their performance, a young woman just lays around waiting to die of hunger and thirst. Hearing their noise she stands up and looks at them. Linn sees her and then Omondu who turns and films her.
After they stop singing, they leave without talking at all with her - Yba (f). But she runs after their car. Valerie stops the car and takes her with them. Linn doesn't want her...
At their home, Omondu proposes to Linn and Valerie to make a porn film for money. Valerie leaves the room without answering and takes Yba with her, in the courtyard they play with their fingers in the earth.
In the house Omondu films Linn and annoys him with it, not letting him to write his poems. He has a few lines written down but he cannot continue. Linn takes the camera from Omondu and films him. He puts Omondu to take his clothes off and asks him how he feels doing it. Yba comes in the house through the open window and then comes near Omondu while Linn is filming, she answers to Linn questions, she said "I feel like a crumbled paper"
Later. Yba is sleeping and she starts talking in her sleep, a very strange dream, with three women with big nails made out of wood that dig deep inside a man's organs. Yba is one of them and she can't stop, she is drawn towards that man's insides. Linn listens to her and then while still sleeping he takes her into Omondu's car and they all go to a big abandoned furnace to sing again, trying to heal her, trying to heal Yba's dream world.
In the car Linn ties Yba in the shape of a plastic bag.
At the Furnace Linn dances with his body painted red, black and blue. He sings weird lyrics as: "I wonder at the open flower of the crippled lady's middle" Valerie is concentrated at the electronics of the sound, she creates the sound, with a laptop, a mixer, and effect and strange electronics.
Later. In the city near a busy road, in an abandoned building Omondu and Valerie have sex. Yba is beside them, she looks at them. Valerie whispers - Harder, harder...
Valerie asks Omondu for some money, he thought this will be a great fuck between friends but being asked for money makes him feel very weird. He gives her and then leaves. Yba and Valerie remain there, he asks her: "How could you define this pleasure?"
Valerie and Yba walk on the streets, they buy sweets and soda with the money from Omondu. Valerie writes on a wall "Don't be afraid of the ugly" Valerie dances with her white big headphones on. They have money, they have fun.
Linn is kissing Yba in a room filled with light. Then in black he talks to Valerie - Linn tells Valery he can't love her. "There is no love, love is for common people"
Omondu comes at their house with his uncle - Banil (m), something that Linn was always against, although the house in which they live is Banil propriety. Banil is on a couch looking at Linn how he prints a book. A book written by Linn, a book without a subject. Omondu holds Yba in his arms. Yba doesn't like it. She like Linn, she love's Linn. Linn prints the book and gives it to Banil, Banil reads a fragment and trows it on the ground. Its stupid. He leaves.
Banil came here to see what is his nephew doing. What is this band that he talks so often about. These pure artists that would die for their art. "They bring dead things back to life" Also Banil forces Omondu to go to a weird business meeting. There is some conflict between him and Maikal, a rival that wants and can take all Banil's contracts. Omondu is his best negotiator.
Valerie sings for the first time. She yells on stage. She is alone. Linn is in the public. The small crowd in a very small art gallery. After the performance Yba helps her to stand. She gave it all. She gave all her inner rage.
Outside Linn yells at Valerie that she shouldn't perform for herself, for getting over things. Their performance is about and for others, not for themselves. Valerie runs away.
She comes and takes Yba and leaves Linn. The two girls go into some woods where they play and where Yba tells Valerie why she wanted to die.
Linn is alone. At his house comes Omondu very upset. His rich uncle didn't understood at all his love for Linear A.
Now Omondu wants to become one of Linear A, to renounce it all and become a part of Linear A. Banil comes after Omondu and steals him from the house and takes him somewhere in the mountains in a small chalet. Omondu runs away and goes to a rival of Banil's, to destroy Banil's business. Constance takes Banil that puts him in a basement to force Banil to accept their demands. Banil refuses but would make the deal if she - Constance (f) will be his girlfriend and associate and will agree to keep Omondu in the dungeon. Constance remains with Banil but them helps Valerie to take out Omondu from the basement.
Valerie and a sick Omondu run away. Yba remains with Constance. Linn is inside a sewer, living there in continuous meditation. There are flowers all around him. Valerie comes and says goodbye. Linn doesn't brake meditation.
Constance talks at the phone with her father Maikal, the rival of Banil. "And where will them two go now?" "Nowhere, they will be back soon."