![]() Thus, Troche’s movie offers itself to its target audience as a frankly Utopianįantasy, militantly excluding from its frame any doubt or contradiction. Is not about to vanish into the mist, leaving everybody stranded and confused. It isĪs if the characters are already living inside Brigadoon … and as if Brigadoon ![]() More real world even implicitly lurking beyond or around the one we see. Many are the classic movies, such asĬlock (1945), that compare the reality to the fantasy, weighing up theĬonsequences of passing from one to the other, and arriving at a pragmatic or Hollywood, such dreams were often delivered to their eager audiences in a Idyll in some exotic location, the ecstasy of song and dance – such are theįantasies offered by these narrative forms. Provide release and escape from the real, harsh, miserable one. Of these venerable genres, their drive to create imagined, heavenly worlds that Musical and the romantic comedy of manners. That they can look in on the story and speculate on its future direction, like CélineĪnd Julie (Jacques Rivette’s heroines of the ‘70s), before they plunge backĪ strange and compelling way, Go Fish is like a modern re-invention of certain Old Hollywood forms – specifically the The frame in sequence, forming Busby Berkeley-esque geometric patterns – so Regularly throughout, theĬharacters huddle together on some abstract floor-space – their heads entering That express a certain poetry, a particular grace. Symbols, but they may just as well be spectacles, little phenomenal occurrences Inserts of a top spinning or a hand trailing through the air. Narrative space that is full of digressions, multiple layerings, lyrical Troche and her regular collaborator/co-writer Guinevere Turner conjure a Not only the characters who flounce and bounce along, but also the film itself. Which prolongs the emotion on a superior, essentially lyrical register.” (1) thus magnified by this sudden passage into abstraction, Indeed, as Luc Moullet (an unexpected champion of Go Fish) eloquently states: “The power Dressing-up offers theįilmmakers no less an occasion for such lyricism than scenes of lovemaking or Hip-hop music provides the beat for these scenes, and slow-motion,ĭancing camera moves conjure an air of weightlessness. ![]() ![]() Spaces, pulling on coats, hauling up jeans, ruffling their hair and putting on Its happiest and most vibrant moments take the form ofĭressing-up montages: all the various characters, in their assorted domestic Hanging out and dagging around – don’t come near the helium-high offered here Movies – with their fond celebrations of everyday fun, getting out of bed, One has never seen such a breezy portrait of theĭating game as in this lesbian divertissement. Rapprochment of queer cinema and romantic comedy.ĭisarming queer romance. See how violent gestures – gestures of gay bashing and macho boxing – can beĪppropriated, worked through, turned into dance, rendered poetic and graceful.Įdging closer to the mainstream, Rose Troche is a major figure in the We see this, in a frankly experimental vein, in theĬlassic Australian short Resonance (1993)īy Stephen Cummins (1960-1994): in the musical-Utopian impulse of that film, we Offered us some the lightest and airiest depictions of romantic love inĬontemporary cinema. Queer cinema – for all its shock tactics, modernism and political radicality – has ![]()
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