Prílepek (2006)

“Prílepek” (2006)

Cinanima 2007



This is very interesting work. This is not really animation (since every image is recorded and note “created”) though i got to watch it in an animation festival. But it’s ruled by the same kind of freedom of thought regarding physical rules and created realities/worlds as the good animations. So it is justified its inclusion in an animation festival. I really found several elements that got my attention:

. the acknowledging of cinema as a succession of images. There are, to my view, two possible lines of thought when one wants to take definitions to their limits: one is considering cinema as “moving images” the other is taking it as “succession of images”. Silent movies were, mainly for their technical limitations, understood by the viewer as a succession of images, and cinema was born on this basis (and in fact, every camera is just a really fast photography maker). Than we have that really important and genius film which is La Jetée, where Marker deliberately eliminated movement “inside” the image (except for a subtle eye shot) and made a film out of succeeding images one after the other (and yes, it is cinema in my dictionary). Here we have a compromise between both ways: transmuting image, and succession of images. In the end, in this film this shows with the way the editing is (superbly) well done, constantly using several separated images shifting fast and telling an “action” or the common 24fps which tell our brain we are watching one single image that changes every moment (reality?). This was really interesting on this film

. the point of view. We have a protagonist who spends the whole time lying on the floor looking, touching, feeling. The placement of the camera (and shifting between positions, editing once more) is very clever in the way it gives us great consciousness of the floor and the protagonist’s sensations. We get great attempts at sensuality in the touching of the legs, the short shots inside skirts, underwear, the looking down-up at the legs. This is a work of sensitivity, and a refreshing way to shoot an old (the oldest?) theme.

Get to this.

My opinion: 4/5

This comment on IMDb


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