| dbp:quote
|
- "The idea is simple / A married woman and a single man meet / They love, they argue, fists fly / A dog strays between town and country / The seasons pass / The man and woman meet again / The dog finds itself between them / The other is in one, / the one is in the other / and they are three / The former husband shatters everything / A second film begins: / the same as the first, / and yet not / From the human race we pass to metaphor / This ends in barking / and a baby's cries / In the meantime, we will have seen people talking of the demise of the dollar, of truth in mathematics and of the death of a robin." (en)
- "When - the sun already piercing - the river still sleeping in the dreams of fog, we do not see it anymore than it sees itself. Here it is already the river, and the eye is arrested, one no longer sees anything but a void, a fog which prevents one from seeing farther. In that part of the canvas, one must paint neither what one sees, since one sees nothing, nor what one doesn't see, since one must paint only what one sees; but to paint what one doesn't see." (en)
- "In one scene we see a woman and an older man, her lover, sitting on a bench. A second man, her husband, appears with a gun and pulls the woman out of the shot and to the right. But instead of cutting back and forth between the action going on in the separate shots, Aragno used two cameras to capture both in 3D. The result is a layered image of the woman and her husband combined with the left-hand-side image of the man on the bench. If you close one eye, you will only see the woman and her husband, if you close the other you will only see the man on the bench, and if both eyes are open your brain will struggle to view them simultaneously. Yet at the end of the wild visual experiment, the separated images join back together in what Aragno has called a "romantic effect." (en)
|
.jpg){kind=link}
.jpg){kind=link}
