A composition of symbolic, surreal and almost mystic images.
A composition of symbolic, surreal and almost mystic images.
When I first watched this my main point of interest was screencaps I had seen and a devotional bent toward Nico and her music. I wasn't disappointed, but in terms of the film I'm sure I was a bit ill-equipped to handle what I was seeing other than pure spectacle. I enjoyed and championed it, but due to the fact that I remembered very little other than Nico on a horse in a ring of fire, and long circular shots of Garrel walking, I was surprised to see just how in line with some of my ideas about cinema, that I've developed in the last few years, are on full display here.
There's a great use of landscape-as-limit-experience, with Garrel…
"There are five or six films in the history of the cinema which one wants to review simply by saying 'It is the most beautiful of films.' Because there can be no higher praise... To say of them, 'It is the most beautiful of films' is to say everything." -- Jean-Luc Godard
Una mujer llora en el desierto. A su lado hay un hombre. Solo están ellos dos y el cielo y los vastos dominios de la arena. Ella sigue llorando. El hombre se aleja, comienza a caminar hacia a un lado. No sabemos muy bien hacia donde. Todo el espacio es el mismo espacio; el cielo y los vastos dominios de la arena. Música elegíaca, grande en su pesar como grande es el desierto. Él sigue caminando. Rayos de luz surcan la arena. La luz cambia. El sol no se mueve, deben de ser las nubes. El hombre camina. Camina hasta que vuelve al mismo lugar del que partió. Hasta que vuelve a la mujer que grita y llora. ¿Que significa? ¿Que necesitamos que signifique?
Garrel's La Cicatrice Interieure (1972) seems somewhere between Gilgamesh; Hesiod's Theogony; Hindu creation myths; a hippie camp-out; African fire legends, Valkyrie laments in the Völsunga saga; Peter Tscherkassky's Exquisite Corpus; and those dreams our planet shouts to the moon. Its tracking shots in other-worldly landscapes are a contemplative language all their own. I'm actually amazed at the breadth of scale and ambition Philippe Garrel and friends utilized almost 50 years ago--on a shoestring. Bravo.
Nico spent an hour crying in a desert and we really slept on it for 47 years
In trying to write about films, or rather somehow understand my feelings on them, I often retreat to some nonsense about the director’s “belief in images”. Of course, a term like that usually relates to the extremes of either earnestness or opaqueness; that essentially conviction is the foremost virtue of the cinema, reading a film beyond just its intended message or apparent craft and into personal expression.
But my I think that my “belief” in belief has to do with at least somehow wanting a film to be a living, breathing thing; to not be simply an executed concept or rather exercise. Possibly it has something do with sincerity being an ever-appealing trait in my own life, or maybe it’s just part of Sarris’ classic third premise of the auteur theory, but either way I’ll try to phrase it differently in the future.
Nico is by far the most fascinating human to ever have lived.
Vast, empty landscapes are ideal locations for Nico's music. As a music video, this movie is damned near perfect. As anything else, it's a little boring. It has long, beautiful uninterrupted shots and three unsubtitled languages, a naked man, and Nico, being beautiful and aloof. But it doesn't seem to have much point, and while that's not always necessary, even staring at landscapes as pretty as these isn't quite enough to hold me.
Still, as I said, the music is great. It's Nico, mostly stuff available on her albums, but there's at least one tune that isn't (looked it up--the name is "Konig," which is German for "king."). If you're a big Nico fan, it's worth it for that alone, though I suspect that song is available elsewhere at this point. Everything is a CD extra somewhere these days.
An impressionistic poem expressing the internal and eternal. Touching on everything from relationships, parenthood, time, death, religion, spirituality and all of the existential musings and crises in-between. A technical marvel of sound, Nico's music and symbolically weighty, avant-garde images, stark and bold. The Inner Scar's non-linear flowing ethereal poetics surprisingly finds Garrel at his most cogent of this era in his work.
Se ha quedado buena noche para divagar. Nada de lo que diga va a ser más desconcertante que el hecho de que acabe de empezar a llover. Tampoco voy a decir nada interesante, así que quien quiera ahorrarse la lectura está invitado a ello.
El otro día me puse a ver Human Desire con ánimo de seguir con la filmografía de Fritz Lang, uno de los directores que más me interesan de todo lo que viene siendo el cine. El caso es que no habían pasado ni diez minutos cuando tomé una decisión que prácticamente no me había visto forzado a tomar en mi vida: quitarla porque no me podía concentrar. Esto no significa que con anterioridad no haya visto…
i beg you to stay;
i will give you a name.
o que vem antes do letreiro é muito melhor - muito bom - do que o que vem depois.
as longas caminhadas são das melhores coisas. é difícil ver alguém andando continuamente por tanto tempo no cinema. gesto que é, via de regra, abreviado em tela. tem alguma coisa especialmente graciosa em vê-lo aqui não interrompido.
A visual exploration of Nico’s mystic album ‘Desertshore’ ❤️
Wherein Nico and Philippe Garrel invent the album-length video. With its unforgettable Icelandic and Egyptian backdrops and Nico's dark-night-of-the-soul soundtrack, this is an alluring, unsettling howl in the wilderness. Highly recommended for lovers of adventurous, challenging cinema.
evocative and provocative. the title of the film is telling. also loved how you could see the actors visibly grappling with the elements: wind, cold, waterfall, horses, fire, boat in the current. it really added a lot cos you can feel the tension.
side note: my cat was captivated by this film, would not look away from the screen
Images et musique sublimes mais j'ai rien compris
Nico is to Philippe Garrel what Björk is to Matthew Barney: (mononymous and) superior
Naked french man with tiny peepee rides a horse and roams around the desert while crazy girlfriend screams randomly in German. This is the type of avant-garde shit that I’m looking for.
eta I just found out that the naked dude is both the director and father of Louis Garrel, mind blown.
i watched this before i knew that nico was a nazi
ㅎㅎ.. 쉽지 않았다.. 72년에 저예산으로 찍은 영화인데도 화질 너무 좋아서 놀랐구.. 사막, 동굴, 폭포, 빙하 등 광활한 자연 많이 나오는데 멋졌다.
니코와 가렐 본인이 연기한 '악마' 그리고 발가벗은 남자 세 명만 등장하는데, 아마 로케이션 중 어디는 지구고 어디는 다른 행성이고 그런 거 같다. 잘 파악은 못했다. 사실 뭐라 써야할지 모르겠다. 언젠가 내가 준비됐을 때 다시 극장에서 볼 수 있길.
I champion the slow, droning pace of Philippe Garrel's underground films; that said, this left something to be desired. Not that no hypnosis was at play, there are sprawling tracking shots and an admirable attempt to communicate maximalist ideas with a minimalist lens (an artistic trick that seduces me). That said - damn, I know that minimalism makes claim that "less is more" but...that's not always true; case and point, "The Inner Scar." The occultic, mystic vibe it goes for cannot reach its true potential though it's always reaching because it's not given enough material to work with. However, it's always great to see Nico riding a horse amongst the desert's sparse flames, and it's always great to hear tunes…
"But my eye must betray what it sees through the light."
MundoF 16,715 films
UNDER CONSTRUCTION This is a lot of work - and will take a lot of time - because I need…