long odyssey through the war-torn Balkans, a succession of shots showing a cruel sublime nostalgia for a time that is longer than the spectrum itself, reflection on nature of cinema and its preservation in time of war, "Ulysses' Gaze" moves, and is deceptively disturbing dream the viewer.
From the first images, Angelopoulos films the sea, a vast expanse of water that even the old-fashioned boats seem to escape. Then you turn your back to it to contemplating this land, the cradle of civilization, the realm of philosophy and freedom, ancient seat of the Art in its most lush. But we see only the fog, the time seems stopped or ended. This land is no longer used now that floor to humans in disorientation, pale and wandering, observing their civilization official melting. The statue of Lenin, boneless and elongated face to the sky, drifting on a misty river under the gaze curiously naive uneducated people (considering the scene as an event), blinded face a rapid decline and sustained, is the most touching example of the film.
"Greece is a dead country" to hear the taxi driver who takes our director, main character in this film, towards the border with Albania. The only fraternity and magnitude that there is now among these people is the friendliness, "the division of alcohol and listening to the same songs." Perhaps these values will enable humanity to die in peace, dignity and greatness since have evaporated.
From this pessimistic, Angelopoulos will make it a fertile ground by conducting a reflection on the place film, nature and survival. The film is eternal (death of cameraman in the first sequence of the film highlights), immortalized but it also maintains an expertise, a custom or personalities. But it can also become a weapon in times of war, a disturbing testimony as necessarily subjective. Universality means that the film is a tender unattainable goal, a frustration that pushes art to grow, creating a branch to a range that grows over the generations. The universality of this data is infinite can not be palpable by piece, a multitude of looks somehow.
omniscient gaze of Angelopoulos offers the filmmaker's trip a multitude of metaphysical sense than the others: time travel, exploring the infinite development of cinema as art, which passes under our eyes, by constructing At the same time the film; testimony on the war through the encounter characters who live to the rhythm of machine guns (the scene of the New Year where we come to arrest dissidents remain in worship dance), a personal journey of a filmmaker through research that a coil is seeking his true personality squandered through his films, a bit like a clown who is retiring and who is overseas in itself.
"Ulysses' Gaze" is ultimately the film's most rhythmic of Angelopoulos, it reflects a certain angst and transmits an image specific to the chaotic war. The vacuum inside a filmmaker anxious and lost harmony with the external chaos of a hectic period for finally ending the hopes of starting over again.
From the first images, Angelopoulos films the sea, a vast expanse of water that even the old-fashioned boats seem to escape. Then you turn your back to it to contemplating this land, the cradle of civilization, the realm of philosophy and freedom, ancient seat of the Art in its most lush. But we see only the fog, the time seems stopped or ended. This land is no longer used now that floor to humans in disorientation, pale and wandering, observing their civilization official melting. The statue of Lenin, boneless and elongated face to the sky, drifting on a misty river under the gaze curiously naive uneducated people (considering the scene as an event), blinded face a rapid decline and sustained, is the most touching example of the film.
"Greece is a dead country" to hear the taxi driver who takes our director, main character in this film, towards the border with Albania. The only fraternity and magnitude that there is now among these people is the friendliness, "the division of alcohol and listening to the same songs." Perhaps these values will enable humanity to die in peace, dignity and greatness since have evaporated.
From this pessimistic, Angelopoulos will make it a fertile ground by conducting a reflection on the place film, nature and survival. The film is eternal (death of cameraman in the first sequence of the film highlights), immortalized but it also maintains an expertise, a custom or personalities. But it can also become a weapon in times of war, a disturbing testimony as necessarily subjective. Universality means that the film is a tender unattainable goal, a frustration that pushes art to grow, creating a branch to a range that grows over the generations. The universality of this data is infinite can not be palpable by piece, a multitude of looks somehow.
omniscient gaze of Angelopoulos offers the filmmaker's trip a multitude of metaphysical sense than the others: time travel, exploring the infinite development of cinema as art, which passes under our eyes, by constructing At the same time the film; testimony on the war through the encounter characters who live to the rhythm of machine guns (the scene of the New Year where we come to arrest dissidents remain in worship dance), a personal journey of a filmmaker through research that a coil is seeking his true personality squandered through his films, a bit like a clown who is retiring and who is overseas in itself.
"Ulysses' Gaze" is ultimately the film's most rhythmic of Angelopoulos, it reflects a certain angst and transmits an image specific to the chaotic war. The vacuum inside a filmmaker anxious and lost harmony with the external chaos of a hectic period for finally ending the hopes of starting over again.
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