What, at the most basic level, makes a piece of cinema compelling? What outsiders have often recognised better than those in the industry’s powerhouses is that it’s not about having the flashiest tools or the largest cast; it’s about using what you do have well.
David R Williams’ wonderfully titled House Of Screaming Glass opens with the sound of cicadas, a slowly building weight of ambient sound behind them like the pressure one might feel in one’s ears before a storm. The image we see is partial, stained blue by what might be summer light to which our eyes are not yet accustomed. We see hair, clothing, flesh, a young woman lying on the ground, twitching in that way that bodies twitch after consciousness, or at least all possibility of survival, is gone. Panning up, we see a red doorway, the remnants of festive lights around it; part of a sign.
David R Williams’ wonderfully titled House Of Screaming Glass opens with the sound of cicadas, a slowly building weight of ambient sound behind them like the pressure one might feel in one’s ears before a storm. The image we see is partial, stained blue by what might be summer light to which our eyes are not yet accustomed. We see hair, clothing, flesh, a young woman lying on the ground, twitching in that way that bodies twitch after consciousness, or at least all possibility of survival, is gone. Panning up, we see a red doorway, the remnants of festive lights around it; part of a sign.
- 5/18/2024
- by Jennie Kermode
- eyeforfilm.co.uk
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