lovers or Melies, Griffith, Proust, David Lynch and psychoanalysis, do not miss My Winnipeg, a cinematic experience "unique" due to our beloved Canadian filmmaker Guy Maddin, a rare artist:
"He has made only 10 feature films in 23 years .
-distribution of his films is at best elliptical and weak: thus we find his works in chronological disorder, when some are not totally obscured.
-Few exhibitors dare to project his films because of abject ignorance or timidity which is not least, depriving the public of a passionate rendezvous with the originality and poetry that invigorate the 7th art better than any of Lynch's films combined.
"He is one of those rare filmmakers I've become an ardent admirer. I count among my trio of Canadian filmmakers fetish along with Atom Egoyan and David Cronenberg.
opportunities to enjoy a stunning sensory experience is so rare that it would miss the obscene films by Guy Maddin. I have not seen much, only three feature films ( Dracula: Pages from a Virgin's Diary, Brand upon the Brain, My Winnipeg ), because the media seldom speak to him, because that his films are poorly distributed in France and because it also takes time to build a culture cinephile worthy of the name. I missed The saddest music in the world , but I will have the opportunity to catch up in time.
My Winnipeg was conducted in 2007 and appears projected onto some of our screens, so that Guy Maddin has finally in France in a late consideration: indeed, at Beaubourg, we are offered the chance to see a retrospective of his work. Lucky them, these Parisians!
Already, My Winnipeg proves to me the most successful work of its author, at least the most consistent. Contrary to his habits, he is not a fiction of this time developed from his memories, but a documentary in the true sense of the word. Caution, do not expect to find work stern of a filmmaker who, having documented on a city and have classified information on his topic, you expose an objective, geographical, social and political.
Documentaries are back on the front of the stage, and so much the better: they question our world and denounce the evils. But Guy Maddin is in a totally and irremediably different. Far from aiming for an impossible objectivity, it takes the subjective nature of his vision and plunges deep inside himself to examine the love-hate relationship that binds him to his hometown of Winnipeg as the most populous city Canada (Manitoba).
Initially, the project is initiated by a command of Canadian television. Making a documentary about Winnipeg enchants little, he who dedicates a healthy abjection to the dictatorship of Realism that invades our screens until the new digital technology of special effects that, far from place to dream, aim instead for rendering more realistic (see the disaster movies of Mr. Independence day and 2012).
If a pedigree to mention the film by Guy Maddin, it is first on the side of the surreal that we must go find: My Winnipeg is a deeply moving ode to his hometown in which the filmmaker has lived for nearly fifty years and the influence which he must free himself as the womb. From the title, the incongruous presence of the determiner possessive "my" clearly raises the stakes of the documentary project. Guy Maddin is not going to make a sightseeing tour of his hometown under the guise of a presentation of the capital of Manitoba, Winnipeg is actually hollow portrait of its author. His pictures and his commentary namesake revive, not the city, but his experience of his city through the prism of his memory elitist and distorting.
Thus the film is punctuated by the leitmotif of the train trip that brings the narrator to his hometown return that you can imagine as the ultimate. The train is an allegory of the labyrinth of memories. The man looked at the window of his compartment keeps watch Winnipeg marching in a hypnotic ballet of snowy images, transfixed by the regular passage of flakes as the stripes of an old film strip of the silent era, and sinking in the middle of the night while the voiceover narration that recites the filmmaker gives way to metaphors and other associations of free ideas that identify verbatim Winnipeg castrating a matrix, a metaphor made possible by the design formed the basis of two rivers in the city. The commentary Maddin explores his psyche and offers an image of Winnipeg subjectified completely, and therefore all the more authentic.
Madness film is to describe this ghostly city its size, the memories and memory deformans, a city of superlatives, the somnambulist city par excellence. I thought then that the nightmare vision Lars von Trier proposed the imaginary city of Element of Crime . Maddin von Trier as the first time, is a filmmaker who incantatory practice the virtues subliminal cinema, what makes it possible to work on the sound is absolutely amazing. The sounds flowing in abundance in My Winnipeg. Allies Voice Guy Maddin and tired to use original music, they plunge us into the texture of which memories are made, between fantasy and magic, poetry and humor.
The editing of the film gives rise to a demonstration of virtuosity Guy Maddin that mixes the city's own memories (from his photo albums or carried by the magic of cinema), archive footage covering the events or facts various founders of Winnipeg and gaps of dizzying invention from which springs the irrational (dreams, fantasies) in an explosion of fantasy.
-distribution of his films is at best elliptical and weak: thus we find his works in chronological disorder, when some are not totally obscured.
-Few exhibitors dare to project his films because of abject ignorance or timidity which is not least, depriving the public of a passionate rendezvous with the originality and poetry that invigorate the 7th art better than any of Lynch's films combined.
"He is one of those rare filmmakers I've become an ardent admirer. I count among my trio of Canadian filmmakers fetish along with Atom Egoyan and David Cronenberg.
opportunities to enjoy a stunning sensory experience is so rare that it would miss the obscene films by Guy Maddin. I have not seen much, only three feature films ( Dracula: Pages from a Virgin's Diary, Brand upon the Brain, My Winnipeg ), because the media seldom speak to him, because that his films are poorly distributed in France and because it also takes time to build a culture cinephile worthy of the name. I missed The saddest music in the world , but I will have the opportunity to catch up in time.
My Winnipeg was conducted in 2007 and appears projected onto some of our screens, so that Guy Maddin has finally in France in a late consideration: indeed, at Beaubourg, we are offered the chance to see a retrospective of his work. Lucky them, these Parisians!
Already, My Winnipeg proves to me the most successful work of its author, at least the most consistent. Contrary to his habits, he is not a fiction of this time developed from his memories, but a documentary in the true sense of the word. Caution, do not expect to find work stern of a filmmaker who, having documented on a city and have classified information on his topic, you expose an objective, geographical, social and political.
Documentaries are back on the front of the stage, and so much the better: they question our world and denounce the evils. But Guy Maddin is in a totally and irremediably different. Far from aiming for an impossible objectivity, it takes the subjective nature of his vision and plunges deep inside himself to examine the love-hate relationship that binds him to his hometown of Winnipeg as the most populous city Canada (Manitoba).
Initially, the project is initiated by a command of Canadian television. Making a documentary about Winnipeg enchants little, he who dedicates a healthy abjection to the dictatorship of Realism that invades our screens until the new digital technology of special effects that, far from place to dream, aim instead for rendering more realistic (see the disaster movies of Mr. Independence day and 2012).
If a pedigree to mention the film by Guy Maddin, it is first on the side of the surreal that we must go find: My Winnipeg is a deeply moving ode to his hometown in which the filmmaker has lived for nearly fifty years and the influence which he must free himself as the womb. From the title, the incongruous presence of the determiner possessive "my" clearly raises the stakes of the documentary project. Guy Maddin is not going to make a sightseeing tour of his hometown under the guise of a presentation of the capital of Manitoba, Winnipeg is actually hollow portrait of its author. His pictures and his commentary namesake revive, not the city, but his experience of his city through the prism of his memory elitist and distorting.
Thus the film is punctuated by the leitmotif of the train trip that brings the narrator to his hometown return that you can imagine as the ultimate. The train is an allegory of the labyrinth of memories. The man looked at the window of his compartment keeps watch Winnipeg marching in a hypnotic ballet of snowy images, transfixed by the regular passage of flakes as the stripes of an old film strip of the silent era, and sinking in the middle of the night while the voiceover narration that recites the filmmaker gives way to metaphors and other associations of free ideas that identify verbatim Winnipeg castrating a matrix, a metaphor made possible by the design formed the basis of two rivers in the city. The commentary Maddin explores his psyche and offers an image of Winnipeg subjectified completely, and therefore all the more authentic.
Madness film is to describe this ghostly city its size, the memories and memory deformans, a city of superlatives, the somnambulist city par excellence. I thought then that the nightmare vision Lars von Trier proposed the imaginary city of Element of Crime . Maddin von Trier as the first time, is a filmmaker who incantatory practice the virtues subliminal cinema, what makes it possible to work on the sound is absolutely amazing. The sounds flowing in abundance in My Winnipeg. Allies Voice Guy Maddin and tired to use original music, they plunge us into the texture of which memories are made, between fantasy and magic, poetry and humor.
The editing of the film gives rise to a demonstration of virtuosity Guy Maddin that mixes the city's own memories (from his photo albums or carried by the magic of cinema), archive footage covering the events or facts various founders of Winnipeg and gaps of dizzying invention from which springs the irrational (dreams, fantasies) in an explosion of fantasy.
(more ...)
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