The following is an interesting review of one my early short movies shot in DV provided some years ago by the american director and writer Patrick Meaney
Tiranti Transit is a short film by Italian director, Alessandro Fantini. It was interesting approaching this film because I can see so much of my own work in the film, both the triumphs and the failures.
The film's in Italian, and I didn't have access to the English dialogue, but I think it's so well made that you don't even need to understand the dialogue. The primary concern is building a mood, and what lingers with me after viewing the film is not the story, it's more this feeling of melancholy and warmth. In that respect, it's a very prototypical European art film. I haven't seen that much of his work, but it's reminiscent of Antonioni, with a decentralized narrative and a focus on aesthetic qualities.
I think that's what makes cinema so powerful, a Wong Kar-Wai film wouldn't work in any other medium because it's not solely about the story, or solely about the aesthetics, it's about the fusion of music and visual to create a singular feeling. The score in this film is fantastic, moody and Blade Runneresque, it's a large part of why the short works as well as it does.
The best moments in the film are at the end. There's a fantastic shot where the woman opens a door inside and there's a cut to a wide open road, which we then see her standing on. It's a great moment of surreal cutting, using editing to make a transition that's not possible in reality. This leads up to the really nice ending of the film.
My big issue with the film, something that's true of a lot of low budget, digital works, is that some shots just feel like home video, and that takes you out of the story. It's the biggest concern in working with digital, I absolutely love DV and would gladly shoot it over film, but it means that you need to better, to ensure that each shot has the care you would spend for a filmbased take. Even David Lynch had some really sloppily composed shots in Inland Empire, it's tough to nail every shot and a few here just didn't quite work. But, it didn't fully take me out of the story's mood, and I was able to quickly shift back in and reengage with the story. Maybe some color correction would resolve that issue, or more likely, just a higher end camera.
The other thing I wasn't sure about was the zooms. Some of them were great, but some felt a bit arbitrary. Some filmmakers use the zoom lens in great ways, most notably Robert Altman. I feel like with the zoom you either have to be really slow, or really fast. If you use the default camera speed, it can feel rote. But, I'm not sure if I'm reacting that way just because I know about cameras and can see how it worked. However, I'm still glad that he tried it, because some of those zooms made for great moment.
I'd rather watch a film like this than a polished Hollywood movie that doesn't have any energy in the shooting. I'd rather have a few shots that don't quite make it if it means having some of the fantastic compositions that appear throughout the film. As I've said many times before, I'd rather see a film that aims high and doesn't quite make it than something that has no ambition and nails it. So, the flaws of this film don't mean that it's not a great viewing. This film is a world you can slip into, and I really enjoyed my time there. And, the ending had a primal power that I found very affecting and well done.
If you want to view the film,it's on line here, and there's more information on Alessandro, including some fantastic art, right here. at his site.
"I consider painting my most intimate dominion where pursuing the evocation of what I like to define “mysterium interruptum”, “a suspended mystery”, that is something very similar to the experience of the “presque vu”, “almost seen”, when we feel that we’re about to recall a name or a word without being able to tell it. In fact like the more sensual “coitus interruptus”, the pleasure of this impression relies on the anguished awareness of the unspeakable that only the crystallization of momentum rendered by a painting can deliver to the watcher".
More than a decade of meditative studies around the mysteries of Being projected on canvases, papers and videos, constantly fluctuating between stylistic reminiscences of Flemish masters, symbolism, surrealism and glimpses of neo-realist dimensions tied to waking dream intuitions and self-induced hallucinations; more than 450 artworks generated by an aesthetic Stakhanovism nurtured since the first childhood experiments in comics and anime; more than a simple artist obsessed by his own self-centered realm or the latest artistic trend, Alessandro Fantini has always conceived his creative activity as a privileged “detector” of all the unspeakable and enigmatic realities hidden behind the material as well as spiritual sphere. The paintings collected in this "Atlas of Untold" are the best proofs that the roads of the mystery leads nowhere but to the silent and swarming cities of Unknown. Indeed, everything you cannot tell by using words that you have "on the tip of your tongue" is what makes art worth of being admired.
This is the first of my 4 handmade artworks submitted to the Talenthouse "Blade Runner
2049" contest. Ridley Scott and a Warner Bros jury selected the best
five artworks inspired by the upcoming sequel directed by Denis
Villeneuve, starring Harrison Ford reprising his role as Deckard and Ryan Gosling as a rookie Blade Runner.
think the high secrecy enveloping the plot of the movie has made harder
for the partecipants to figure out a relevant visual concept. That's why I've created a more
surreal yet plausible image by using the Deckard's jukebox (shown in an early featurette) projecting
the holographic faces of the actors around the "mnemonic" globe, hinting
at the "musical" enigma of reality and memory.I
still don't know if the fact an awful child scribble on Talenthouse got more
support than this and the other 3 artworks is an amusing or depressing statement about the
perception of art and creativity on line.
Moreover, having just seen the
winners of the Talenthouse contest,
I've realized that joining this kind of "competitions" has no point at all
(beside getting the chance to figure out some new specific movie-based
All the art contests with money reward that I've joined over the years were won by friends or relatives of the jury (that's how it generally works in Italy, where you have to make sure to have the right affiliations even before starting to dream about becoming an artist).
glad that at least an oil painting has been selected (that one by the talented Nicky Barkla)
reward is that no artist have thought about using the holographic
jukebox as a way to "symbolize" and provide a conceptual frame to the
traditonal composition of "actors faces" in order to underline the
ambiguity between artificial and real. Indeed, despite the
technical skills, the winners look like "replicants"of the same poster pattern.
doubt it has been a very tough job for the jury to select only 5 works
from the sheer amount of excellent submissions. Nevertheless the lack of variety in visual ideas makes you think that the
rules of the contest should have clarified that they just wanted
"alternative posters featuring the actors" (possibly made with vexel art by Philippine designers, that's a more elegant way to call photomanipulation) instead of "artworks inspired by", a word
that defines a far more creative and open-minded approach than simply re-assembling photobased faces with glaring neon-like colors.
least I know that I've spent 8 days on a real rough canvas with real
brushes painting with real greasy oil colors watching it with my real
As Deckard says in the new movie"I know what's real!" (am I a Nexus 7?).