The heart of the film is the unlikely friendship between Bruno and Roberto.
It’s deceptively spare and simple in a manner that hides a genius of elegance and grace, which places it in the tradition of Ozu or Rohmer.
Francois Truffaut: “Our New Wave would never have come into being if it hadn’t been for the young American Morris Engel, who showed us the way to independent production with his fine movie The Little Fugitive.”
“Most of my traumatic moments, my lonely moments, my brave moments have been hidden inside my personal soundtrack. The music made it all bearable.”
I could imagine the filmmakers watching the dailies and brimming over with gladness that they’d captured the shots they’d captured, and then adding just the right soundtrack, editing it perfectly, and sitting in the dark, full of joy, watching the finished movie.
The rediscovery of an old film by Paul Strand and Charles Sheeler inspired me to watch the view every morning with anticipation. Sometimes the old, dirty windows in the office further embellished the buildings with new and ethereal qualities of light. Each day, the weather and changing seasons brought a new discovery to what I was witnessing.
“We cling to narratives of our association with a local ecosystem, and want to believe that we fight as hard as we can against that ecosystem’s eventual disappearance under a light-blotting alien invasion as if it were our own lives and works at stake. Part of that may be delusory – this ecosystem is not our own, has no love for us, and it is our own force that keeps it from eradicating our efforts and our lifeways.”
Sari Lennick’s bright vibrant collages combine pages from art school aesthetic theory texts with iconic irreverent hip hop and pop song lyrics.
Such a strange film, so beautifully full of questions and doubts. In the end “What does it matter? All is grace.”
Joyfully forming grand theories, talking about them with a friend, and building on them as the days go along.