Watched this film by Philippe Grandrieux earlier this week (after seeing him highlighted on Dennis Cooper’s blog), and still haven’t been able to shake this opening montage from my head.
Has gotten me thinking even further about the collaging of extremely visceral on extreme levels (the children) to the more intuitively visceral, on a calmer level (the car), a quiet/loud compiling that has been well put to use in the music land but perhaps less so in text.
It seems to me that Burroughs was able to pull some of this off in his cut up methods, but I’m also wondering what other textual artists could be pointed at or explored in such a way? Seems like the leaping times are much more drawn out on the page most often, when they do not necessarily have to be? To what effect?
Here also music and sound have as much if not more prowess on the experience as do the images themselves, the motion. How can music and noise be added to a paragraph, a page? What texts might replicate such a feeling?
Anyhow, Sombre surely has some of the best shot work I’ve seen in a while, even if it is another serial killer film.