The hallucinating documentary about the film “Dune” is now playing at Film Forum in New York City. The Chilean writer-actor- director Alejandro Jodorowsky, who was considered one important figure in the early 70s art circuit, had a mystic approach to the novel and the possibility of making this film. He originally developed the idea for this project in hundreds of pages of storyboard, which became a revolutionary and imaginative platform for the science fiction film industry.
In order to create the vision he had, Jodorowsky worked with very talented artists such as Chris Foss and H.R Gigger. The storyboards were presented in the main studios in Hollywood, but they didn’t give Jodorowsky the financial support for the production of Dune. Nevertheless, years later Gigger and other members of Jodorowsky’s crew became involved in the creation of films such as ‘Alien” and “Star Wars”.
Jodorowsky, a real visionary that was ahead of the film industry in America, didn’t fear to create a project that transformed the science fiction world.
Although the project was given to David Lynch instead of Jodorowsky, his work is alive on his storyboards, comics books by the director, and now in this documentary.
The editing work in Eyes Wide Shot by Stanley Kubrick is remarkable and considered by some critics as one of his most important editing works. In an article by Jeffrey Scott Bernstein, he mentions how the editing in this film “might well be the best of any Kubrick film”. He points out the pace and variety of the geometry of shot composition, as “two different and highly important avenues of inquiry”. The juxtaposition of the patterning of shots is surprising and contributes to increase tension. The vertical compositions followed by horizontal frames in the film are extremely dynamic, and become even more dramatic when the vertical medium shot is contrasted with a close up in a horizontal frame.
An illustration of this dynamic editing is the scene in their bedroom where the couple have the conversation about Alice’s affair, the camera mimics the tension between the couple by using a particular frame and angle for each character in the sequence. When Alice is standing in front of the window, a vertical composition from a low angle brings her to the active position in the space just before she will tell her story to the husband. This shot is followed by a medium shot of Bill, Tom Cruise, over the bed from a high angle. Moreover, there is also a contrast in color and tonality between the couple. While Alice is surrounded by a blue metallic cold light, Bill instead has a red background in his frame. Bernstein suggests that this elements became “an emotional cusp, which is “forceful, thrilling.” The scene shifts from irony and laughs into malady and perversion as the camera gets closer and closer to the subjects.
From the short film “Aurora’s Requiem”, NY 2013.
Produced and directed by Katalina Gutierrez.
Photographer Assistant: Jose Pena
Actress: Rebecca Schall
Actor: Adam Resnick
From “Second Light”, under production, Allison Plamodon portrays a dancer in a metaphysical journey filled with wonder.
Shadows on Blue
I’ve been exploring with shadows and silhouettes as a way to represent the multiple layers of reality. The light creates a particular universe of possibilities, where the eye travels and encounters new worlds. In such dimension unknown realities can be explored and experienced.