Críticas (2)
The dynamics of time and space in common films are clearly dominated by spatial movement. Adversely, Wavelength represents an attempt to build film dynamics based on time and duration, pushing framed camera movement to a liberating minimum. This minimum of camera action is subordinated to time, which is very asymmetric and hypertrophied in relation to the action captured in it, meaning that we are able to enjoy the space that the camera captures even more. We thus have ourselves a paradox: a conventional film, with all its movement and switching of spatial locations (where time is degraded into a medium through which only the sequence of events is made possible), ultimately overshadows what it is based on, i.e., space and movement are merely flickering. /// The film is also interesting in terms of the relationship between content and form. The prevalent idea (which few openly admit, but in practice commonly think) sees both categories as almost autonomous elements, with the quality of the resulting artwork determined by the combination of both. However, the fact remains that we cannot abstract from either one or the other, as Wavelength demonstrates. The alternation of color filters may indeed seem like a formal finesse, but through it, our perception of the entire space and its details, and especially the world outside the windows of that room, undergoes a fundamental transformation. The content of the film is thus co-created by the form.
()
Yes, indeed, you can find some deeper meaning there, but this is certainly not a work that would captivate me. Thanks to the sound design, it's also an incredibly irritating piece of work that I preferred to watch with muted sound. Experimental films just aren't for me, even if they are part of the "1001 Movies to See Before You Die."
()