When someone has a sharp knife unsheathed, perhaps it is better to think twice about going to bed.
Garcia impressed me with "Things You can Tell" and "Ten Tiny." They showed he knew something about women or at least women in the context of how women exist in a dramatic context.
Competence is rare, so is honesty and vulnerability. More rare is the commitment to experiment.
That "Ten Tiny Love Stories" project was really striking. One take, one person speaking directly to the viewer personally telling a story. The settings were ordinary homes, and the stories well let's say that one could readily imagine this unfolding in life. It wasn't drama in theater reaching toward life. It was almost life, emulating the theater we sometimes experience in life.
Superficially similar, this is the extreme opposite. We do have one take per episode. And we do have the same level of vulnerability. Let's examine that a moment. Garcia believes that at least so far as women are concerned, the world ensnares. Stories capture urges and women's souls sort of incidentally get entangled.
Its one of several cosmologies that have a long tradition. You can choose in your life and the art that accompanies it, to discover your own dynamics. I think the way it works is urge, soul, story. This has it as story, urge, soul, a relatively unbearable reality if so. But one that derives from that great American invention of film storytelling, noir.
Coming from a woman like Breillat it is one thing. Coming from a male rooted in a macho tradition that puts men elsewhere in the equation means the knife is out. He's an artist, sure. But the knife is out.
Back to the difference between this and "Ten Tiny," That form set itself in life. This sets itself in theater. As before, it is one camera blink per episode, but this time our women move about, sometimes extremely mobile. The effect is to exaggerate the theatrical quality of the thing rather than the reality. Secondary characters follow ordinary theatrical conventions which further puts us in artificial worlds.
In Tiny, reality came first, the story from the real. Here, the fabric of the story is what we see. What it implies is that we are expected to be entwined in the drama the same way our hapless women are.
Here's the problem. We don't have that many ready tools to use in exploring and defining ourselves. For many, the templates we discover are in the media, primarily in movies. I think I would rather have a world full of women who understand and negotiate the stories they find themselves brushing against than what is promoted here.
Yes, this is the cousin of the objection Italians, for example have when what they see is thugs from their group. And that's a stupid objection, the driver behind the objection closer to the point. It isn't the characters we see that have the power to shape us, but the world in which those characters exist.
This is a depressing world. You may want to be particularly alert when visiting it or risk being cut. If you watch only one, watch Robin Wright Penn's.
Ted's Evaluation -- 3 of 3: Worth watching.
Garcia impressed me with "Things You can Tell" and "Ten Tiny." They showed he knew something about women or at least women in the context of how women exist in a dramatic context.
Competence is rare, so is honesty and vulnerability. More rare is the commitment to experiment.
That "Ten Tiny Love Stories" project was really striking. One take, one person speaking directly to the viewer personally telling a story. The settings were ordinary homes, and the stories well let's say that one could readily imagine this unfolding in life. It wasn't drama in theater reaching toward life. It was almost life, emulating the theater we sometimes experience in life.
Superficially similar, this is the extreme opposite. We do have one take per episode. And we do have the same level of vulnerability. Let's examine that a moment. Garcia believes that at least so far as women are concerned, the world ensnares. Stories capture urges and women's souls sort of incidentally get entangled.
Its one of several cosmologies that have a long tradition. You can choose in your life and the art that accompanies it, to discover your own dynamics. I think the way it works is urge, soul, story. This has it as story, urge, soul, a relatively unbearable reality if so. But one that derives from that great American invention of film storytelling, noir.
Coming from a woman like Breillat it is one thing. Coming from a male rooted in a macho tradition that puts men elsewhere in the equation means the knife is out. He's an artist, sure. But the knife is out.
Back to the difference between this and "Ten Tiny," That form set itself in life. This sets itself in theater. As before, it is one camera blink per episode, but this time our women move about, sometimes extremely mobile. The effect is to exaggerate the theatrical quality of the thing rather than the reality. Secondary characters follow ordinary theatrical conventions which further puts us in artificial worlds.
In Tiny, reality came first, the story from the real. Here, the fabric of the story is what we see. What it implies is that we are expected to be entwined in the drama the same way our hapless women are.
Here's the problem. We don't have that many ready tools to use in exploring and defining ourselves. For many, the templates we discover are in the media, primarily in movies. I think I would rather have a world full of women who understand and negotiate the stories they find themselves brushing against than what is promoted here.
Yes, this is the cousin of the objection Italians, for example have when what they see is thugs from their group. And that's a stupid objection, the driver behind the objection closer to the point. It isn't the characters we see that have the power to shape us, but the world in which those characters exist.
This is a depressing world. You may want to be particularly alert when visiting it or risk being cut. If you watch only one, watch Robin Wright Penn's.
Ted's Evaluation -- 3 of 3: Worth watching.