By Dmitry Martov and Larysa Smirnova
The new film by Serge Bozon, L'Imprésario, is scheduled to have its world premiere this evening at the Centre Pompidou in Paris. The location is quite appropriate since the film was shot there — within the walls of Beaubourg, just a few months ago, in November of 2010. Before leaping to analogies with a handful of other recent and not-so-recent movies taking place in museums and even sponsored by them (Aleksandr Sokurov's Russian Ark, Olivier Assayas's L'heure d'été and Tsai Ming-liang's Visage), there are a few aspects of L'Imprésario to consider. Rather than a lavish extravaganza, the film is short (45 minutes), shot on video with next to no budget, in about a week, in a "primitive mode of representation" (to borrow Noël Burch's phrase describing the films made before — roughly — 1908, which were characterized by the "autarchy of the tableau…, horizontal and frontal camera placement,...
The new film by Serge Bozon, L'Imprésario, is scheduled to have its world premiere this evening at the Centre Pompidou in Paris. The location is quite appropriate since the film was shot there — within the walls of Beaubourg, just a few months ago, in November of 2010. Before leaping to analogies with a handful of other recent and not-so-recent movies taking place in museums and even sponsored by them (Aleksandr Sokurov's Russian Ark, Olivier Assayas's L'heure d'été and Tsai Ming-liang's Visage), there are a few aspects of L'Imprésario to consider. Rather than a lavish extravaganza, the film is short (45 minutes), shot on video with next to no budget, in about a week, in a "primitive mode of representation" (to borrow Noël Burch's phrase describing the films made before — roughly — 1908, which were characterized by the "autarchy of the tableau…, horizontal and frontal camera placement,...
- 2/4/2011
- MUBI
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