The film was a stroke of genius. Even the title has infinite entendre--Casting About--for players, for a real persona, for the nature of women, for the shortfall of male-female relations, for the fine line between reality and illusion for the actresses who are drawing from real life experience or creating their own fantastic expression of the unreal character, for the internationalism touching on the universality of the polymorphic feminine--the film had both subjective and objective points of engagement. Finally the opening quote by Rilke suggests the framework for the film--this is about the face to face encounter, the very essence of encounter--as embodied by the actress who amplified her second performance of the same reading when face to face with a body representing the man she was speaking to in intensive care.
The film was also a film within a film where film to be made interacts with the lives of each actress who read for the film about which is now made about them auditioning for the film that "was never made," not to mention the montage of edits which revealed an incredible aesthetic blend with the music. The film is a study in beauty--all kinds of beauty--body parts in the constant state of self-expression and flow: an implicit sensuality is also there as men coach woman who produce intimate and poignant private responses. I suppose the edit could have been more purposeful with the film pointed towards a specific direction, but the director is Casting About searching for something which is revealed by the ending reader--the epitome of the Jewish woman who makes him cry--the men and camera are fascinated with her--the treatment is static and focused if not classical, the subtitles show a serious intent to appreciate every moment of her performance.
Needless to say, my interpretation might not be right, but I enjoyed the film--very interesting.
The film was also a film within a film where film to be made interacts with the lives of each actress who read for the film about which is now made about them auditioning for the film that "was never made," not to mention the montage of edits which revealed an incredible aesthetic blend with the music. The film is a study in beauty--all kinds of beauty--body parts in the constant state of self-expression and flow: an implicit sensuality is also there as men coach woman who produce intimate and poignant private responses. I suppose the edit could have been more purposeful with the film pointed towards a specific direction, but the director is Casting About searching for something which is revealed by the ending reader--the epitome of the Jewish woman who makes him cry--the men and camera are fascinated with her--the treatment is static and focused if not classical, the subtitles show a serious intent to appreciate every moment of her performance.
Needless to say, my interpretation might not be right, but I enjoyed the film--very interesting.