<Gently Down The Stream>
the moon flickers on the blue silky water,
turning bubbles into the shape of circles.
what flickers me when i was watching the circles crumbling inside the rectangular screen is the neatness and hard edge of the tone that carries through within the wavy streams of images.
<Toute Une Nuit>
the tight long corridor behaves like a middle cut of the edge of 2 sides, squashing the romantic scenes into pieces.
it was funny when i realized i didn't put on the headphone when i was watching this bit, but the silence acts as a strong sense of ambience for the corridor, longing for momentary freeze for the frame to loose its wire.
<Toute Une Nuit>
the girl in blue came running down the stairs, separating the romantic melody into moments of solitude.
it was detached when i found a girl standing in the middle, desperate to look for something. to me, it acts as an end of the romantic affairs, and as the start for the moments of solitude. (child --> adolescent)
<je tu il elle>
a pattern formed:
going up the elevator,
watching a mirror image of your own,
sitting in front of the dining room ready for bread with butter and cream.
whether ascending and descending or not, all activities are like happenings on the ground level, sounds static.
<je tu il elle>
plug and pin, plug and pin...
layers and layers form a long strip,
forever long.
if it's pinning and plugging of notes, it's not a ready song.
i just love it when i saw Chantal Akerman pinning papers on the floor. girls crawling on the floor is more seductive than kicking their shoes off.
<If every girl had a diary>
nail disappear,
thumb fold,
thumb closed.
ground disappear.
the folding and releasing of Sadie's palm brings into a language where the ground becomes dubious, i feel it's conveying but concealing...