essential. i haven’t experienced such mesmerizingly dazzling sensitive expression formally since perhaps dziga vertov. the film cuts frantically and moves everywhere because its matter is so overwhelmed by tension that one must constantly shift the angle to maintain its pieces together, a masterclass on iconoclastic storytelling. truly revolutionary.
to institute representation as signifier, as a transcendental subject radically deluded, one can sense existence itself as a fundamental point, which can overbalance the entire structure it finds itself in. when ws turns the most crucial element of imbalance to pure abstraction, he shifts the very fabric of representation towards a tangible force, absolutely essential for the actual transformation to take place.
it takes this boisterous abstraction (alice as a representation of humanity, not humanity itself, alice as cinema) to…
beautiful visual textures that unveil an unhinged tale of blunder and gaucherie. north american sociopolitical imaginary in a very specific social stratum, cassavetian pacing allied with an explicitly frontal dramaturgy and an emotionally compelling dramatic cosmology. when misfits can’t find their place in society, when they don’t belong anywhere, when they are simply non-entities drifting around a room, thinking about their loved ones and all the suffering their actions may have caused to them and others.