Books, or art, in commemoration of Savonarola's 1497 Florentine falò delle vanità (bonfire of the vanities).

“I used to spend afternoons reading in bed. Tommaso would call and find me there. He could have kissed me. I wouldn't have resisted, out of boredom. But he was satisfied to watch me as I read. All those purposeless books.”

– Lidia

A lavish #CocktailParty in celebration of the launch of a novel is bookended by tragedy, in the loss of a befriended writer and the unraveling of another writer and his wife's marriage.

Good, or bad, fortune on the day Wheel of Fortune premiered in 1975.

– How much did you win?

– 500,000 in less than an hour. It's immoral, but no more than anything else. No more than poverty or ugliness.

“Life has its tricks. Its oddities.”

– Jackie Demaistre

“We'll go back to Nice tomorrow. The Bay of Angels brings us luck.”

– Jean Fournier

“Have you seen Mr Tavernier tonight?”

Office worker Josef K. is brought to trial and at no point told what he is accused of, if anything. Orson Welles' Le procès is an adaptation of Franz Kafka's unfinished 1914/15 novel Der Prozess. The manuscript, guarded from Kafka by his friend #MaxBrod in an attempt to keep the self-doubting author from destroying his work, was against K's wishes posthumously (re)assembled by Brod without the latter knowing the intended sequence of the loose pages nor what chapters were finished.

“All these fancy electronics, they're all right in their place, but not for anything practical.”

– Uncle Max

The story holds up in its vagueness thanks to the quirks of #Kafka's Brotberuf; Franz K. was a trained lawyer, working as an insurance agent in an impossible artifice world of reports and precise wording. Within its extended logic, a man can get perplexedly lost, either within the walls of his #office or one's bed.

The global audience of #Mondo-Vision, a live broadcast #TimeTravel experiment, determines through their emotional investment in the lead's screened experience what the man's destination will be. Even so, the spectators' collective energy should serve as a powerhouse, enabling a televised leap into the future. The man whose faith determines it all is Terence Stamp – played by the actor with the same name. He agrees to partake in the hope that enough emotional energy can be harvested for him to travel back in time so he can reunite with his lost love.

 

While definitely taking a cue or two from Alain Resnais' Je t'aime, je t'aime (1968), Hu-Man has a much grimmer feel to it. The seventies were not a time of or even for optimism, including Stamp's career and personal life. Noun Serra's dizzying editing and the real-world danger both the in-movie actor and real-world actor are exposed to makes Hu-Man a much more self-referential and personal experience for this future's reality-fatigued viewer.