CSS: Meandre (Mircea Săucan, 1967) & dj set Vlad Ivva
La COLECTIVA GAZETTE
8 Martie 2018
Launched at first in 1967, right after its first projection, this film took a break from the public screen until the year of 1990, when it was re-discovered. Compared with Fellini`s `Otto e mezzo`, this film brings along with this reference an Antonioni breeze as well, and could be pointed out as one of the most beautiful romanian films ever produced (but unfortunately, it is not as known as it deserves). It`s interesting that even its story is not following a path of recognition of how romanian cinema was behaving back then, being rather based on some universal concerns, such as the death of the artist, the bi-dimensional ego, and concepts drawn around the context of failure and departure.
Beautifully shaped, the film reveals a sort of a metaphysical architecture for spaces reserved for isolation and interior tensions. The inner universe of the characters is put in very good relation with the dynamics and movement of the scenes, where their alternation is bringing a constant impression of commemoration, or of a continuous flashback. Dance scenes follow all around, the concept of unacomplishment being stated in a choreographic way, and a taste of melancholy can be felt over past times’ or over desires that one knows that will never become true. The characters literally step out of some scenes, where their movement could be read as a symbol for departures, or for reaching a goal. Inner nature melts into two types of ego: the one that fools, and the one that gets fooled, and so people either get to run unconsciously, or obsessed by their concerns.
Horses and flamingos running or flying are inserted in the film as symbols for the getaway desire, and also as a reminder for the impossible communion of human beings with the complete state of freedom. A woman drawn on the walls of a church states even more the impossibility of being free, or the possibility of failure, because she is depicted double left handed. The film reveals the artist diving into his own death of creation, where one of the main characters is an architect who constructed his universe too bold and outrageous to be understood, so the denial of his work got closed into self-isolation. By drawing airports on sand, he develops a contradiction between land and air, between flight and non-flight, utility versus concept, or the feeling of being stuck.
There is a specific interest in generating an atmosphere that is concerned with time compression, and is defined by a specific attention added when choosing scene lengths, quiet moments, music, and scenography details, more often based on structure rather than decorations. All these effects, along with the storyline, blend in together in a poetic film which, if it had been a poem, it would have most likely been a white rhyme poetry. Or a compillation of european haikus.
text written by Alexandra Mocan
Noemi Vlad became Vlad Ivva under the needle of a turntable during a Bucharest fall, while putting on some music at a friend’s house.
Gradually experimenting with the minimal and microhouse genre, she soon learned that she had to balance being both a producer and a DJ, as the two complete each other.
She believes in the details of sounds and gives them fine abstract notes, ranging from minimal and hypnotic sounds to voices, that in sync with the visuals gives the party its mistichal groove.
#ColectivaSilverScreen proposes a series of feature and documentary film screenings with dystopian, anarchist, activist, trangressive and other various underground culture related themes, ranging from the culture’s onset until the present day.
Artwork: Alexandra Mocan
Via Colectiva Silver Screen