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Je Proclame la Destruction
Toby Ashraf
One scene, dissected into two shots. In seemingly
endless repetition we see the same thing over and over: a middle-aged
man walks up to a podium. In front of him in rear view, a group of
mostly young people. Behind the man a table and a chair, as if a
lecture had just finished. It seems to be in a basement vault, or in a
factory hall at least. The situation has a conspiratorial quality, the
audience seems like students. Countershot to a closeup of three faces.
A young man wants to move up closer, next to him is another young man,
a woman – the only one it seems – is just behind him. Then the man
walks up to the podium once again, goes to the microphone again, speaks
his sentence. The crowd cheers, roaring with approval, cut to the
closeup of the young man. “I declare the destruction,” says the man at
the podium – not in rage, not screaming, just assertively and quite
clearly. What he wants to destroy is withheld from the audience, since
we find ourselves in an endless loop of waiting, declaring, and
verbally articulated approval. It all lasts exactly 18 seconds. Arthur
Tuoto puts this into his film ten times, so that the end would be
reached after three-and-a-half minutes. But the film starts all over
agin, it becomes timeless, endless, imperative. The mantra, perhaps a
bit anarchistic, starts up again; timelessness and endlessness are
completely suspended in its presentational form. We can’t even match up
the two shots, Tuoto has cleverly pulled the applause form the first
shot into the second, so that we cannot fix any before and after. The
exclamation remains without context, becoming more pressing each time.
Anyone who knows Robert Bresson’s Le diable probablement (The Devil,
Probably), from which this scene is taken, might know a bit more, but
knowing this isn’t crucial. About the Bresson film, J. Hoberman once
wrote, “Religion is a farce, the world is shown as coming to an end.”
But this is a new, a different film. Reduced to a moment.
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No
teu gesto mais frágil há coisas que me encerram, ou que eu não ouso
tocar porque estão demasia
In
your most frail gesture are
things which enclose me, or which I cannot touch because they are too
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