Minh S. is no intellectual dabbler but a free spirit whose particular way of relating to his staff colors everything he turns. In this film inspired by Georges Bataille, a new emphasis on sexuality and intimacy seems to indicate an attempt to redefine the essentials of identity.
This film is hermettic yet transparent, repulsive but fascinating, naturally generating a fictin from the links between images in scenes that are utterly disparate, distributed and interwoven, in random order, snatches of a loser's humanity.
And because the images come from all over and go nowhere in particular, it is the spectator who takes responsability for the film as much as the final cut shown on the screen.
No beginning, no middle, no limits; no theme, no characterization. And, in spite of all the cruelty, sadness and violence, no pathos.
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This film is hermettic yet transparent, repulsive but fascinating, naturally generating a fictin from the links between images in scenes that are utterly disparate, distributed and interwoven, in random order, snatches of a loser's humanity.
And because the images come from all over and go nowhere in particular, it is the spectator who takes responsability for the film as much as the final cut shown on the screen.
No beginning, no middle, no limits; no theme, no characterization. And, in spite of all the cruelty, sadness and violence, no pathos.
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