The Weird and Wonderful
I confess, I always had a soft spot for movies which fulfill any of the three criteria:
1. Avant-garde
2. Independent, or more specifically, non Hollywood (eg. The Machinist)
3. Arty farty (eg. Birth, Dancer in the Dark)
4. Local (eg. Roystan Tan's 4:30, Eric Khoo's Be With Me)
5. Foreign (eg. L'Enfant, Cidade de Deus, Возвращение)
Still, I found the films that I've caught so far, too normal to be even considered avant-garde. Of course, some of them were admittedly boring and it made me more than happy when the film ended
However, two weeks ago, I was finally understood what an avant-garde film was...
Matthew Barney's Drawing Restraint 9,
As a fickle fan of Björk, I was wildly ecstatic when I read on Straits Times that the National Museum of Singapore was going to hold a South-East Asian Premiere of Drawing Restraint 9. The description of the brochure read:
And this was how Drawing Restraint 9 went for me...
Half hour into the show, I comprehended why critics described the show as unbearably slow and tedious. It literally took forever for Björk and Barney to board the Japanese whaling ship and put on their elaborate costumes.
And of course, there was a morbid disturbing fascination with petroleum jelly but I would not go into there.
But true boredom awaited during the tea ceremony.
It was simply ridiculously meticulous. What could have probably taken a couple of minutes in a normal film dragged on for what seemed like hours. I felt like I was watching 20 hour marathon webcast of Fluid Mechanics lecture on 0.5X. Everyone in the full house theater were likewise, shifting distractingly in their seats.
In a passionate and intimate scene, Björk and Barney slashed each other's legs off and proceed to have a slice of their own leg meat sushi.
Towards the end of the film, Björk and Barney morphed into whales and lived happily ever after. (No, I'm not kidding about the ending too.)
1. Avant-garde
2. Independent, or more specifically, non Hollywood (eg. The Machinist)
3. Arty farty (eg. Birth, Dancer in the Dark)
4. Local (eg. Roystan Tan's 4:30, Eric Khoo's Be With Me)
5. Foreign (eg. L'Enfant, Cidade de Deus, Возвращение)
Still, I found the films that I've caught so far, too normal to be even considered avant-garde. Of course, some of them were admittedly boring and it made me more than happy when the film ended
However, two weeks ago, I was finally understood what an avant-garde film was...
Matthew Barney's Drawing Restraint 9,starring himself and Björk as occidental guest
As a fickle fan of Björk, I was wildly ecstatic when I read on Straits Times that the National Museum of Singapore was going to hold a South-East Asian Premiere of Drawing Restraint 9. The description of the brochure read:
Leave your inhibitions and logic at the door, and enter the sensuous, striking and disturbing world of Matthew Barney...Of course, normally, alarm bells would have sounded for most people when the description tell you to "leave your logic at the door", but I ignored all the blatant warnings and roped an innocent fan with me in to watch.
His latest filmic work, Drawing Restraint 9 (2005), unfolds in a dream-like Asian setting. It features the creative input of his partner Björk, both in the mesmerizing score as well as playing a bride who travels to a Japanese whaling ship, the Nisshin Maru, for a bizarre wedding ceremony with an unnamed man played by Barney. The ending scenes alone will leave your eyes glued to the screen. Difficult to describe, his films never fail to provoke a reaction from the audience.
The National Museum Cinémathèque’s Alternative Visions series presents cutting edge work that pushes the boundaries of film and the moving image.
And this was how Drawing Restraint 9 went for me...
The first 10 to 15 minutes were pretty normal.
Picturesque shores and people dancing... Nothing out of the ordinary.
Picturesque shores and people dancing... Nothing out of the ordinary.
Half hour into the show, I comprehended why critics described the show as unbearably slow and tedious. It literally took forever for Björk and Barney to board the Japanese whaling ship and put on their elaborate costumes.And of course, there was a morbid disturbing fascination with petroleum jelly but I would not go into there.
But true boredom awaited during the tea ceremony.
But the best was saved for the last.
In a passionate and intimate scene, Björk and Barney slashed each other's legs off and proceed to have a slice of their own leg meat sushi.Yummy...
Towards the end of the film, Björk and Barney morphed into whales and lived happily ever after. (No, I'm not kidding about the ending too.)Labels: Björk, Drawing Restraint 9, Matthew Barney
posted by Kelvin Lim at 3:32 pm
3 Comments:
Sort of reminds me of sashimi.
Juan juan!!!!!!
That was the film tt Kelv Bing! Kelv managed to persuade me to come along!
Torturous, painfully so....
U noe how I was duped into gg?
Kelv jus happened NOT TO MENTION tt the female lead was Bijork lah, til after I have alreadi agreed and he had bought the tics liao.
And then I tot nvr mind, maybe the director, Bijork's hubby, actually makes COMPREHENSIBLE arty-farty films.
NOOOOOOOOOOOO.....Damn it, weird ppl only marry weird ppl!!!!!!
By the time the tea ceremony scene came along, I was ready to kill Kelv liao, or hurl the stupid projector (which was nowhere in sight, perhaps to prevent abovementioned behaviour)at the screen or Kelv's head.
Haha. Sorry lah, I didn't know it was that bad.
Hey, it's probably a film you would remember for life. Although for the wrong reason... Heh.
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