01 Apr 2011
Feedbacks for BIPEDALITY (2010)
1) Tony McKibbin (Scottish independent writer and teacher who writes for The List in Edinburgh and various film and literary journals worldwide)
Just to say I finally got round to watching your film the other day and though I have a couple of reservations that might say a lot more about my perspective than the limitations of certain moments. I very much liked it. Audio visually the film is superb, and you have an eye for making an image really speak: I think there are certain countries that have landscapes that speak back to us (Scotland and Ireland really seem to posses this quality, and it is partly why people keep coming back I sometimes think). Most filmmakers don’t appear to notice this, and certainly don’t capture it: you do. The Illusionist is one of the few films that have done it in Scotland; and a Frenchman made it. The reservations are to do with what I’d call the choreography of crisis: a problem very few filmmakers I think have cracked. Sometimes I show the students clips from Voyage to Italy, Gertrud and The Eclipse, and show how the latter two manage to find a way into the problem of relationship crisis while Rossellini’s film, a brilliant move towards resolving the problem, is still caught in classic dramatology and doesn’t quite pull it off. I hope you don’t take my reservations badly, and I could just be missing something you are getting at in the dialogue exchange in the kitchen.
2) K.j. Farrington (American Cinephile and Filmmaker)
The Portuguese filmmaker Joao Botelho said one must never give answers in cinema. You must always pose questions, questions, and questions. I have many questions about Bipedality. None I would ever dream of putting to you, for I’m certain whatever answer you’d care to give would be insufficient compared to the value of pondering the lasting impressions formed while watching it.
I love films, which present a strong sense of the physical world, and I found your images of nature, in all its stubborn implacableness, to be a strong counterpoint to the couple’s troubled relationship. There is a sense that there might be a connection, but if there is it is to be found in a place beyond language’s capacity to say. Everything was so deeply subjective, moody and strange, right down to the visible digital noise on some of the shots. At moments, I felt as frustrated as the male was attempting to deal with the female’s recalcitrant attitude. Who are these two and what has brought them to this moment? Does she have some knowledge of a missing child, or is it some psychic manifestation or illness even? Is it a way to provide her with the feelings she doesn’t seem to have for him? As the film unfolds these questions arise, though never in a manner dry or academic. It’s brave to make a film like this. And refreshing to watch.
3) Ivan Kavanagh (Irish Filmmaker)
I thought it was beautifully shot (some of those cutaways were fantastic and the opening shot was great) and it had a hypnotic and dreamlike quality. I thought the cast did a very nice job, especially Julia. Is she a professional actress? The performances sometimes reminded me of the one’s in Herzog’s Heart Of Glass. Trancelike and very unusual. A beautifully shot, nicely acted, sometimes hypnotic and dreamlike film.
4) Sahar Taleghani (Iranian Movie Fan)
Liked it a lot. To me it was like Hemingway conversations and Tarkovsky visuals. Never had imagined such a combination but it was so right for the story. Great acting too! I really enjoyed the movie. It was so familiar to me and so universal as well. A good story, that unfolds artistically. I loved the sounds. No need for music.
5) Roland Quelven (French Experimental Filmmaker)
I liked the using of the landscapes and their textures. It reminded me to the four classical elements, in order of appearance: Water, Fire, Air and Earth (mountains and trees), and the fifth element Ether. Landscapes become abstract: really wonderful sequences I thought to Turner first and then to Rothko, the using of the blue tones reminds me Buffalo 66 by Vincent Gallo and the brown textures reminds me Tarkovski. For the scenes with the couple (congratulations to the actors!), I don’t understand the whole content (… desperately French). I understood the following structure: (disappearance of a child / couple relation about sex / disappearance of the child. a secret). It is a consequence of the Babel Tower’s effect. Sometimes I heard dialogues as a part of the sound design. I like this idea and I believe that you use dialogues not in narrative way. (I use writings not for their senses but for their graphical aspects). I like also the using of sounds and music of dialogues as a bridge between landscapes and the scenes of couple.
6) Patrick Renaud (French Experimental Filmmaker)
What I can say is I’m always excited to share the pleasure that you have to make images, filming the landscapes, people. Superb tracking shot, wide on the industrial landscape in “opposition” to the rural landscapes (campaign) that you will extract, look far into the image. In “Bipedality” you film over front, a “face to face” re-cut for space, the camera is more stable. This is different from your other films? Very nice sequence in the kitchen. I like the actors’ performance, minimum. I also like how you distribute the lights, the dark masses, and luminosity. Sincerely sorry for not being able to talk about your movie, and then the machine translation will offer something strange.
7) Claude Chamis (French Movie Fan)
Frankly, it’s a great strange movie and you are a great director. I’m very touched by the intense depth of your images. Your film is very French, in a Duras and Garrel way and very emotional. The lights and the frames are beautiful. You deserve more budgets and a real audience. I’m very proud to see “Bipedality”.
8 ) Sofia Koubli (Greek Musician)
Very beautiful film! I really like the 3 – seasons – dialogues and the way in which they are assigned, the film photography and images are great, very poetic some times. The sea and the forest scene at the end are absolutely beautiful! We all have our demons.
9) Ora Kolmanovsky (graphic designer specialized on web/digital media, video-art creator, illustrator based in Tel Aviv)
Thank you for this wonderful opportunity to watch this movie. I admire your cinematographic language, I admire the style, I enjoyed every frame, arrangement between the dialogs and nature footage. The opening scene is so magic and beautiful. A lot of poetry and magic happen in and between of simple life. I would like to see it published and mentioned as an example of really high quality cinematography as an art.