Suggestive gestures

David Finkelstein, 2014, 75’
Versión original con “subtítulos” en inglés

Creado e interpretado por David Finkelstein and Cassie Tunick
Música, edición y diseño visual por David Finkelstein

Viajando por el sendero de un laberinto, el espectador pasa a través de una serie de paisajes extremadamente diversos, los cuales son creados por una exquisita animación, evocadora música de orquesta, riqueza en diálogos, cuyas palabras son usadas tanto como ritmo y textura como en sus significados mismos. Un hombre y una mujer nos guían en este viaje, llevándonos entre pinturas de Mondrian que caen suavemente, violentos choques de coche y bombardeos, y una pareja que baila, cajas multicolor, entre otros muchos elementos. Basada en una performance improvisada, “Suggestive Gestures” nos conduce gradualmente e indirectamente hacia un misterioso animal, escondido en el centro del laberinto.

Traveling along the path of a labyrinth, the viewer passes through a series of extremely diverse landscapes, which are created through lush animation, evocative orchestral music, and rich dialog, in which words are used as much for rhythm and texture as they are for meaning. A man and woman guide us on this trip, taking us past gently falling Mondrian paintings, violent car crashes and bombing raids, and a pair of dancing, multicolored boxes, among many other settings. Based on an improvised performance, ‘Suggestive Gestures’ leads us gradually and indirectly towards a mysterious animal, hiding in the center of the maze.

Director David Finkelstein characterizes his film as a ‘landscape.’ Words, images, and music are all used to evoke a series of changing textures and an evolving inner landscape, which the viewer is free to enjoy in the same way one enjoys a captivating view: by savoring the spatial and color relationships, and becoming immersed in the mood and emotional flavor of each scene, without necessarily expecting the experience to make statements or tell a story. The words, all improvised by Finkelstein and actress Cassie Terman, become physical objects in the scene, where they literally create the landscape and generate the volatile, changing moods of the piece. ‘Gertrude Stein was the first one to suggest that language could be used to create a landscape, rather than tell a story,’ says Finkelstein, ‘and her idea is still proving to be a fruitful way to make performances and films.’
Despite the abstract nature of the film, many viewers will still see implicit meanings in the imagery. The image of the labyrinth and multiple references to the myth of the Minotaur call to mind the Jungian notion of the need we have to confront the monster within us, in order to embrace our whole nature and become free.

Seleccionada en PF5




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