This blog is over 800 words, I hope that’s ok, I had a lot to say.
Tonight was the second time that I watched this movie, and I’m glad I watched it twice. The first time was this weekend, and it was spent basically trying to take in all of the information that the movie was spitting out. Maybe I shouldn’t say ‘spitting out’ because if it was true, then I wouldn’t feel this lost. Maybe I’m over thinking it, maybe not, but I have no idea, and it’s driving me crazy...I haven’t said what I’m talking about yet, so here it is: I’m a very visual person, and I find it hard to speak out in class discussions because when I watch a movie, the things that are running through my head are the relationships between the film score, the photography, and the characters (surprise!...it’s probably because I have always wanted to be a film score composer and when I graduate from UBC in May, I’m going into photography, while a lot of other people are thinking about the things that we actually discuss in class, basically everything else other than what I automatically think about, and no matter how hard I try, it’s really hard for me most of the time to think the way that others think like...after I’m done with UBC, it won’t matter how I think, because I won’t be graded on it, and I’m going to go on into an artistic field ... but here’s the point:
If you add up the time it takes to run through the dialogue in this movie, it would probably be about 30 minutes or less. The rest of the 100 minutes is either credits or photography ... it should be a movie that I can relate to perfectly but it seems like Reygadas is saying so much in all of the pauses and the photography, but there’s so much, I’m going to have to watch the movie over and over again to understand why exactly he put pauses in (some of the pauses were long enough to be like an actual photograph with a really great composition that I would put on my wall – that said, even though the beginning scene was really artistic with the choice of music and the way that the camera descended and gradually showed what was happening, and from a photographer’s point of view, and interesting composition, I wouldn’t want that anywhere near my wall...same story with the still shots after Marcos and Ana have sex and they’re just lying there...great composition and lighting, but no thanks – I think that whoever was behind the camera or in charge of the photography was a genius.
Maybe it’s all easier that I think. Maybe I’m just excited that we’re finally watching an extremely visual movie and it’s way more simple than I think...but most likely not. I’ll have to wait what people think about it on Thursday.
Even though I’ll have to watch the movie again to have a full understand of the symbolism in the photography, I noticed that whoever was behind the camera (well Reygadas was probably in charge of this) really played with the sense of ordering and time. For example, in the first scene, they could have showed what Ana was doing first before they showed Marcos’ face (reaction), but they wanted to show his reaction first before they showed what he was reacting to. Then later, like I said in class, in the metro, they showed Marcos and his wife first before they revealed where they were and what they were doing there. All you could see were their heads and you could hear the annoying beeping, but you didn’t know where it was coming from (this is similar to the scene in the country where you can hear the hammering but you have no idea what it is until after Marcos and their wife have a conversation). I figured that they didn’t show that they were selling stuff in a hallway somewhere until later, because they wanted the conversation to happen first, with very few distractions to the viewer because it was a follow up of the previous scene when Marcos answers his phone and gets the news from his wife. But in the country scene, there’s no reason why they have to show the source of the hammering at the end, because it isn’t really following anything...I guess it’s similar to the opening scene in that way.
Last thing for now because I’ve written over 700 words...I noticed that there was a sense of going from simple to complex in the metro scene...It’s like they were trying to create layers: first there’s minimal information, just a conversation and beeping, then gradually more information is provided: people ask questions about what they’re selling, and then we see what they’re selling, and then we see the people in that hallway thing, and then finally loads of people walk past them. I wonder if this technique is portrayed this much anywhere else. Maybe that’s what they were trying to do with the first scene, and the country scene, but in less drastic layers. I have to watch the movie again.