Two people stand on a road, out of focus. Seen distorted through a glass, they retire upstairs to a bedroom where she undresses. He says, "Adieu." Images: the beautiful girl, a starfish in ... See full summary »
Dancers, shown in photographic negative, perform a series of ballet moves, solos, pas de deux, larger groupings. The dancers glide and rotate untroubled by gravity against a slowly changing... See full summary »
A solitary flower on a long driveway, a key falling, a door unlocked, a knife in a loaf of bread, a phone off the hook: discordant images a woman sees as she comes home. She naps and, ... See full summary »
A young artist draws a face at a canvas on his easel. Suddenly the mouth on the drawing comes into life and starts talking. The artist tries to wipe it away with his hand, but when he looks... See full summary »
Elizabeth Lee Miller,
A tilted figure, consisting largely of right angles at the beginning, grows by accretion, with the addition of short straight lines and curves which sprout from the existing design. The ... See full summary »
Two people stand on a road, out of focus. Seen distorted through a glass, they retire upstairs to a bedroom where she undresses. He says, "Adieu." Images: the beautiful girl, a starfish in a jar, city scenes, newspapers, tugboats. More images: starfish, the girl. "How beautiful she is." Repeatedly. He advances up the stair, knife in hand, starfish on the step. Three people stand on a road, out of focus. "How beautiful she was." "How beautiful she is." "Beautiful." Written by
I've seen this one a few times in the hope of "getting it" but it becomes more and more mysterious with repeated viewings. It's no wonder, the movie is surreal and like the more famous (or infamous) Un Chien Andalou it supports different interpretations or none at all if you don't want to give it. Unlike Bunuel's movies from the same period, L'etoile de mer is poetic the shots are filmed out of focus making large parts of the film seem to be caught up in glass. Just like Un Chien Andalou, the "subject" seems to be something related to unfulfilled desire, frustrated love and a love triangle. The beautiful Kiki de Montparnasse who was Man Ray's muse (he used her in a series of photographs in the 20's) is the representation of beauty. Her beauty is either of glass, or of fire and thus unattainable by the male character who tries but cannot have her. This perspective on the woman's beauty is what makes him eventually loose her for good in favor of another man. I hope this is O.K as far as interpretations go, but you can just watch it and enjoy the beautiful imagery and techniques, the movie is overtly experimental and it has some ideas that make it quite modern for its time. And then again, given that "its time" was a period when there was no gap between cinema and art one wanders what is wrong with cinema today, when we either have blockbusters or "artsy flicks" that try to look fancy but lack a great deal of substance.
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