Film is a must-see for every art-movie and experimental film cinematography fan; 'moralistic' approach in trying to understand the concepts behind the film with rigorous logic and one-dimensional thinking will at the end fail unmistakeably; it's a direct experience of the subconsciouss or better unconsciouss material, surging up, as a sort of psychological 'nightmare', unfolding the raw material of vital impulses mixed with vague and seemingly blinded forces of almost formless reality which takes shape slowly into the visual and dark 'narrative' of threshold consciousness, pulling your senses in and out and bringing you face to face with your suppressed hidden reality, opening the dimension of the "concept of evil" in a strange way, somehow mirroring itself through the metonymical unfoldment of self-persistent desire to appropriate, to devour, to feed on the Other with the central point of the spectator and his gaze...to quote the excerpt from the "Evil and the Senses / Philippe Grandrieux's Sombre and La Vie nouvelle" by Martine Beugnet: Engaging with the legacy of the French surrealist and impressionist avant-gardes, Grandrieux thus equates a return to cinema's first vocation - the evocation of that which lies at the margins of human consciousness - with the rediscovery of the cinematic image as visual and sound textures - a form of sculpting in movement. Accordingly, although a battery of techniques rendered possible by twenty-first-century technology is deployed, the manipulations are not put at the service of transparent or illusionist effects. On the contrary, realistic aesthetics, psychological elaboration, and narrative logic are abandoned in favour of a celebration of cinema as a visceral, synaesthetic experience, where movement, images and sounds operate as affects that precede the emergence of rational discourse.
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