Water to wine, text to film, speech to music
From what i’ve seen, S/H’s films consist of heavy dialogue sections that, while they can be difficult to fully comprehend (especially on a first watch), have a certain rhythm to them. This rhythm is how I have been navigating my way through each of their films. Each section of dialogue has its own pauses and while minuscule, can be a great use of communication between you and the filmmakers on what to think about
Now, if Straub/Huillet’s goals are to push their style to the limits, what Moses and Aaron achieves seems like the most logical path to take. Starting with your already rhythmic dialogue and doubling down on your entire concept, making an opera (film?)
Similar to what I said with Othon, it’s a shame I didn’t enjoy this as much as I did writing about it. There’s always some sort of barrier when it comes to S/H’s films and I guess I wasn’t ready for a full on musical
Water to wine, text to film, speech to music
From what i’ve seen, S/H’s films consist of heavy dialogue sections that, while they can be difficult to fully comprehend (especially on a first watch), have a certain rhythm to them. This rhythm is how I have been navigating my way through each of their films. Each section of dialogue has its own pauses and while minuscule, can be a great use of communication between you and the filmmakers on what to think about
Now, if Straub/Huillet’s goals are to push their style to the limits, what Moses and Aaron achieves seems like the most logical path to take. Starting with your already rhythmic dialogue and doubling down on your entire concept, making an opera (film?)
Similar to what I said with Othon, it’s a shame I didn’t enjoy this as much as I did writing about it. There’s always some sort of barrier when it comes to S/H’s films and I guess I wasn’t ready for a full on musical
