![]() Furthermore, the film allows for the co-creative work of more-than-human actancies, occasioned by the documental interplay between vocal, sonic, and visual severalities at the juncture of images, but also in the image itself. As an example of Gilles Deleuze’s time-image, this essay film is also characterised by a palimpsestic use of different temporalities. By capitalizing both on the essay form’s “disjunctive ethos” 1 and its “elasticity,” 2 Days In Between opens narrative structure to modes of criticality, questioning, dialogue, and address. ![]() It makes use of slow camera, extended shots, operations of approximation, correspondence, metonymy, the uncanny, colour, tone, and rhythm and what is not directly said or represented becomes palpable to the senses through such operations in rather oblique ways. ![]() Shot on 16-mm, the film draws on Christofides’ repeated journeys to the Balkan region from 2011 to 2015. These complex economies of the in/visible, of uncanny encounters with the ghosts of the past, piqued my interest in Marianna Christofides’ 40-minute-long essay film Days In Between (2015).
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