Saturday, October 9, 2010
NYFF in the center of the center
In the center of the center of the New York Film Festival was a moment transcendent. As the scenes in of 'Of God and Men' moved from the monk's contemplations into the roar of engines and war machines, someone pushed the 'play' button. Into the monastery's dining room came two bottles of wine and a recording of 'Swan Lake'. The monks were transfixed and the moment was sacred. Not god, not man, but art lifted their spirits. As we watched each face; each face was moved to tears---tears of joy, so of course, we knew now they would die.
It was similar to the moment Mark Zuckerberg bonded with Sean Parker in 'The Social Network' over the shared notion of 'coolness'; the moment that the small goat found refuge under a tall tree in 'Le Quattro Volte'; it was the prostitute throwing the money back at the driver in 'My Joy'; the Christmas carollers at the door in 'The Tuesday after Christmas'.
[Kinda the bicycle ride through Brooklyn in 'A Kinda Funny Story'.]
In these moments, a film wins an audience. It is never the 'bound motif' that shows the art of the artist, but the 'floating motif'. What is unnecessary and so the only reason for the film to be. For these moments we go to the movies.
It was similar to the moment Mark Zuckerberg bonded with Sean Parker in 'The Social Network' over the shared notion of 'coolness'; the moment that the small goat found refuge under a tall tree in 'Le Quattro Volte'; it was the prostitute throwing the money back at the driver in 'My Joy'; the Christmas carollers at the door in 'The Tuesday after Christmas'.
[Kinda the bicycle ride through Brooklyn in 'A Kinda Funny Story'.]
In these moments, a film wins an audience. It is never the 'bound motif' that shows the art of the artist, but the 'floating motif'. What is unnecessary and so the only reason for the film to be. For these moments we go to the movies.
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