Viskningar och rop: Static cinema

This was a difficult one for me to really get into: the film felt like it was keeping me at arm’s length from its characters and themes. Points, then, for effectively relaying the characters’ self-imposed isolation effectively in the medium; but the problem with this is that the film itself, to a large extent, felt distant and unapproachable. The plot and characterizations didn’t give me much to invest in: Maria and Karin are clearly damaged by their circumstances, in different ways, but we’re given such a necessarily superficial view of the characters that they don’t seem dramatic or pathetic, and their slow bloom from their emotional winters don’t have the impact they would for characters I’m given a reason to care about.

One cinematic technique I observed and rather liked was the artifice of distance. Dialogue shots would be interspersed close-ups and personal shots rather than scenes, so the idea of distance between the two participants was blurred. This worked particularly well, I thought, in the dinner scene with Karin and her husband. I was led to believe their dinner table was at least six feet longer than it actually was.

See also: IMDB, Wikipedia.

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About Jake
I'm a mathematics professor at the University of Louisville, and a geek.

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