The opening sections are truly fascinating: an exploration of lateral movement within artifice and how the camera itself operates in relation to the formation of a filmic reality, becoming a farcical comedy of errors through purely structural means. Unfortunately the fourth and largest section, in which some 2,000 shots are cut together and separated by the sound of drum beats for an hour, was incredibly difficult to sit through and was interesting for maybe about five minutes before it became…
Kinda incredible that WKW went from something as unpolished as this to making his masterpiece Days of Being Wild in just two years. It's bland and sloppy in a lot of respects, especially early on, with awkward action editing and storytelling pervading the first half (along with the characters and their relationships being generally uninteresting, to the point that I fell asleep for about a 5 minute stretch in the middle).
It's in the last 30 minutes that WKW seems…
Monumental. What can one say about a work predicated entirely on the intangible relationship between dreams and nightmares? An adventure story turned into a surrealist evocation of internal, repressed psychic trauma reverberating across achingly beautiful, Argento-esque images and moody explorations of landscape, recalling both Maya Deren and Buñuel in its haunting, allegorical make-up. This is completely up my alley: elegiac formalism meshed with poetic digressions consisting of streams-of-consciousness reminiscent of late Godard, all wrapped within an unnerving and hypnotically assured…
Slightly hesitant to go all-out and give this five stars (most likely will do so when I watch this again) but holy shit. Masterpiece. This is what my life is, at least my interior; where my thoughts endlessly wander to my mistakes and regrets and flaws and how I pushed someone I loved away because of them.
Speeding off into the horizon, into silence, into the blinding light of the world and begging for forgiveness.