While a British film crew are shooting a version of The Duchess Of Malfi in Venice, they in turn are being filmed by a sleasy documentary primadonna while the strange staff share meals ... See full summary »
Los Angeles advertisement director Max visits his friend, artist Charlie, who was diagnosed with A.I.D.S. in New York. There he meets Karen, they are attracted to each other and after they ... See full summary »
19 filmmakers from ten european countries selected by Mike Figgis for a Masterclass by the European Film Academy come to Slovenia in a challenging mission: to conceive, shoot, complete a ... See full summary »
Martin is a successful writer whose wife suddenly disappeared. During a film shoot fifteen years later, Martin meets Angelique, who disappears the same night. The next day, police find her dead body and a mysterious investigation begins.
Shadows, Scale, Exhibitionist, and Narcissus-The Four Dreams of Miss X. These films are intensely intimate: a beautiful woman's private dream experiences enticing viewers into the dusky ... See full summary »
Confused, non-linear film tells the sexual story of a film director from his life at age 5, age 12, age 16, a man embarking on his first film in 1950's Tunisia, and finally to his current ... See full summary »
Living It Up tells the story of a bus driver who is on the verge of committing suicide when a man offers him some friendly advice - borrow 100 million pesetas from the Mafia and do ... See full summary »
The primary story with this movie is that it is shown in four simultaneously filmed ninety-three minute single shot takes (in other words, shown in four quadrants), with the actual plot secondary. The four cameras follow the players involved, with two or more of the four cameras sometimes filming the exact same scene from different angles and thus different perspectives. The audio on each of the four quadrants is turned up and down based on which quadrant(s) the viewer should pay most attention to at any given time. The actual plot, which takes place in Hollywood, involves the pre-production by Red Mullet Productions for the movie "Bitch from Louisiana". The production team is in an executive meeting to discuss several aspects of the movie, including problems with one of their own, Alex Green, who has been missing in action from much of the production and this meeting. Alex's problems stem from his substance abuse and philandering, his wife Emma who is contemplating leaving him, of ... Written by
There was a golden rule. Mike Figgis told the actors to never wear exactly the same outfit every day over the two-week shooting period. This way there could never ever be the possibility of stealing a scene from another day's shoot and cheating it in the edit. See more »
When Rose walks into the bathroom, you can see the cameraman's hand at the bottom left-hand corner of the screen reaching out to hold the door as he follows her. See more »
I've been looking for somebody all my life who would discover me.
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Symphony No. 5 - Adagietto
Written by Gustav Mahler
Performed by The Polish National Radio Symphony Orchestra
Conducted by Antoni Wit
Courtesy of Naxos Records/MVD Music and Video Distribution See more »
A film doesn't have to be revolutionary for it to be brilliant.
Mike Figgis does a Robert Altman. Except, instead of creating a large narrative of interconnecting plot strands, he puts them all on four split screens. Is this therefore more subversive than Altman? I don't think so - Altman's method is an attack on Hollywood linearity, on conventional methods of 'connection'; his characters exist is the same space but are emotionally etc. miles apart. The characters in 'Short Cuts', like the city of L.A. itself, are a mass without a centre. Figgis, for all the supposed diffusion of his visual strands, actually reunites, glues together Altman's ruptures. In this way it might seem a more optimistic kind of film. It isn't.
'timecode' is being touted as a revolution in cinema, a new way of watching films. Instead of watching one screen and being led by a director, we are given four, and asked to make our choices. I was surprised at how panicked I was at this in the first 20 minutes, darting between scenes, wondering which one I should follow. This forced me out of the film much more disturbingly than anything by Fassbinder or Godard. But this alienation is deceptive. Firstly we are not really bombarded by four narratives - put 'pierrot le fou', 'diary of a country priest', 'vampyr' and 'branded to kill' on four screens, then you'd be confused. Figgis leads you all the way, gives you an illusion of choice, but rarely fulfils it. The focus is on one screen at a time - either the soundtrack is turned up loudest, the plot is more interesting, whatever. For long periods of time, you can safely ignore other scenes because there is nothing going on - for about 20 minutes, for example, Lauren sits in a limousine listening to a bug planted on Rose; this leaves us free to watch another screen and see what she's listening to. Other scenes are merely tedious - eg Emma droning to her shrink (a nod to Godard's 'week end', that famous end of cinema?) - so that you gladly look elsewhere. It is possible to listen to one scene, and flit around at the others to catch up on what's going on.
What I'm saying is, 'timecode' is not a difficult experience - after the initial adjustment, you watch the film as you would any other, especially as all the stories converge and are really only one story. Even at the beginning, the feeling is less one of Brechtian alienation than akin to being a security guard faced with a grid of screens - you rarely think about the physical processes of film or performance, as you would in a Dogme or Godard film.
So if 'timecode' is less revolutionary than it seems, that doesn't mean it isn't a brilliant film, a real purse in a pig's ear of a year (or whatever the expression is). One reason for this is the four-screen structure: I would have to watch it a few more times, but I was very conscious of the orchestration of the screens, the way compositions, or camera movements, or close-ups etc., in one screen were echoed, reflected, distorted in the others - a true understanding of this miraculous formal apparatus would, I think, give us the heart of the film, and bely the improvised nature of the content. Figgis is also a musician - he co-composed the score - and the movement here, its fugues and variations are truly virtuosic, almost worthy of my earlier Altman comparison.
But the content is great fun too. At first I was disappointed at the self-absorbed drabness of the material, the idea that we shouldn't be made to work too hard because we've enough to deal with the four screens. And, it is true, that the stories rarely transcend cliche. But, such is the enthusiasm of the performers (people like Salma Hayek obviously relishing slightly more useful roles than the bilge they're usually stuck in); the precision of the structure; the mixture of comedy and pathos, and the way the style facilitates both, that you're convinced you're watching a masterpiece. Quentin's massaging and Ana's pitch are two of the funniest things I've seen in ages, while Stellan Skarsgard's rich performance stands out all the more for its brittle surroundings.
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