Director: Steven Soderbergh PRODUCTION: USA - 2005 - Thriller
LENGTH: 73 '
CAST: Debbie Doebereiner, Dustin Ashley, Misty Wilkins, Omar Cowan, Laurie Lee Screenplay: Coleman Hough
PHOTOGRAPHY: Steven Soderbergh
ASSEMBLY: Steven Soderbergh
MUSIC: Robert Pollard
WEB SITE
Plot:
Martha and Kyle work in a doll factory and are friends. Their relationship is troubled by the arrival of a new worker, Rose, an unwed mother.
Reviews:
Choice antihollywoodiana to Soderbergh that BUBBLE - think also to recent work of Van Sant - opting to work at low cost in the U.S. will see a simultaneous theatrical release, on the satellite and on DVD (there are five other films with similar characteristics of distribution). Away from the major film is the story of a minimal way in which very precise, well-designed characters drown in the static routine of dreary industrial district; none of the human relationships described in the film is sound: Martha nourishes friendship morbid for Kyle, but Kyle Rose approached him at the first opportunity steals, Kyle used to hang out with Martha Rose, Martha Rose looks with suspicion a person was deemed ambiguous and dangerous; the characters have nothing apart from their habits and drugged by the compulsion to repeat that imprisons them, they come to conceive or accept the horror, the tragedy until finale.Interpretato non-professional actors living in the province of Ohio in which the film is set, shot in record time, BUBBLE is simple and no frills look naked Soderbergh, away from the dollar and the theories, the central objective.
[Luca Pacini]
Tales of Ordinary Madness:
Director discontinuous but from appreciating the spirit investigator, Steven Soderbergh, with "Bubble", challenge the movie industry with great courage. Firstly, because it bypasses the logical common ground rather than letting the distribution of his films simultaneously in theaters, on DVD and pay-tv. Second, because this step takes a little work with anything but commercial and free of any appeal. The challenge, at least from the point of view of style, is won (and probably also the business plan does not languish, given the cost). At the base of the experiment there is a story both simple and disturbing. In a small town in Ohio, in a doll factory, the balance between two work colleagues, a young man and a woman, is troubled by the arrival of a single mother. To involve the structure is not so much "yellow" of the story, as the subtle director's ability to connote perfect theater environment of the story and the characters drift. No star on the assembly line, but common side facing a devastating slow But from the everyday. A dozing placid routine where the tragedy of inner emptiness unbridgeable. In this sense, the small town America comes out in pieces and it is in the silences, filled mostly by noise environment in trade monosyllabic during lunch or a night at the pub over a beer, say the absence of significant events, which can be explained by Soderbergh under the alienation of a life devoid of stimuli, in which the successive days by inertia and really nothing seems able to diminish the emotions. A world without reference points, with variable amok, in which killing can be a choice as simple as required. Finally, the digital out of the habit of shelling at all costs, showing that an alternative to film, without much difference in quality is possible. The script is well structured and interpreters, all non-professional actors recruited in place, have the right to make credible faces destabilizing event.
[Luca Baroncini]
gaze: When
now, admit it, hope was lost here is Soderbergh's return in good shape: the director, who now seemed consecrated the Industry, running a film low cost with beautiful faces from the road, stirs in the mud of the American province evoking the alienation of TWIN PEAKS, choose a story taking it rough all the way without fear of horrifying. BUBBLE is a gnome for the standard of the director: minimum, spectacular zero, are simple but effective in their infinite disquiet (doll factory). The deviance, the tunnel mental illness does not scare the author, that proves that you can (still) making a film using a staging freezes and unadorned, although the support is usually rough triangle sentimental opera opens his eyes wide as gaze of Martha (Debbie Doebereiner, a beautiful monster ") and the tip straight into the abyss. In the background: an extraordinary formal austerity tells America inability to communicate, through almost endless fixed plans, Gus Van Sant in the balance between acceleration decadent rock. How insane film about insanity BUBBLE, uncomfortable next-door neighbor, turns out to be by far the best proof of the American.
[Emanuele Di Nicola]
Comments:
Focus, parallissi and production of meaning:
The focus, as is known, is a narrative process which is to provide the reader with a number of knowledge of (internal focus) or less (external focus) to one owned by a character. Genette calls it "a restriction of 'field', a selection of information than the so-called omniscient narrative tradition (...)". In reality, the cinema would be more appropriate to speak of ocularizzazione (François Jost) - or even rather, bias (André Gardies) - but, to avoid intolerable academic constraints, we are satisfied dell'arcinota genettiana category. Also because it allows us to bring in another concept, the less worn and abused, the French scholar: that of parallissi, or the "retention of information logically carried as" the party dominant mode of the story. In other words, if a story is internal focus, the omission of a fact known to the person on whom the story is focused parallissi. The premise of narratological order is less than it seems inessential, since it helps to address the last Steven Soderbergh's second coordinates suitable are those of the narrative mechanism. Film at greater risk of overstatement, Bubble is in fact built entirely on the procedures mentioned. Wisely - we must add - but at a substantially conventional chains Soderbergh in blocks of narrative focus internal variable (the story is focused now on the character of Kyle, now up to Martha) until the murder of Rose. Here a work parallissi omitting the essential information that should be guaranteed by the party rules adopted by the story. Parallissi focus on internal variable here is the formula by which the American filmmaker works his small films (low-cost duration and low: only 73 '), proving once more shrewd and skillful manipulator of the entertainment packager of audiovisual products. There is no mention of experimental work, because of experimental Bubble is not a trace: the use of actors off the street and kept in the dark narrative of the development is not new, the mounting pseudojump-cut is the figure soderberghiana for excellence and the use of digital key antispettacolare semidocumentaristica and has already been formulated and practiced in the U.S. by the project groups (of which it is useful to recall the interesting Tape (2001) by Richard Linklater, adapted from a play by Stephen Belber). The characterization the characters and the establishment of their relationships suffer from a similar schematic: Martha morbid obesity and Kyle are the sensitive boy cronies, the arrival of the charming and cheeky Rose will send everything upside down. Also on the allegorical, the film seems to go beyond the programmatic and inconsequential statement. Exemplary in this sense, the first shot of the film: the bucket of a bulldozer sinking into the soggy soil of a cemetery. The meaning is all too clear: this film will dig into the quagmire of the American province, showing the moral poverty, squalor and horror. Is there a way to produce more mechanical way with images?
[Alessandro Baratti]
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