settima

bales2025filmchallenge

Die endlose Nacht [The Endless Night] (Will Tremper, 1963)

Jul

6

Die endlose Nacht (1963)

The bold and the beautiful stuck at Tempelhof. And yes, one could smoke there. DP: Hans Jura.

(People at) an airport*

 

It's foggy at Flughafen Berlin-Tempelhof, the Allies' airbridge to the West, and all the planes into and out of West Berlin are grounded. In any other metropolis this could mean taking a train, enjoy the city's nightlife or maybe just a bed for the night. In post-Wall bureaucracy-happy West Berlin, this means endless waits with strangers. And so, with nowhere to go, a Polish jazz band mingles with British spouses, a lonely South African farmer, a model and her beau.

 

Zig-Zag – le jeu de l'oie (Une fiction didactique à propos de la cartographie) [Snakes and Ladders] (Raúl Ruiz, 1980)

Jul

5

Zig-Zag (1980)

An anthropomorphic map with contour lines sketching out a man's head (via). DP: Alain Montrobert.

Traveling to my vacation destination, a map or globe*

“It appears obvious that the territory is the sum of all the maps, the result of an infinite addition. Or a contrary, the territory is what is left when we remove all the sets of lines, drawings, traces and colors which are covering it. Its existence becomes doubtful.”

– H., via

A man, H., joins two others playing jeu de l'oie (Game of the Goose), a board game associated with labyrinths and pilgrimage. While the three play, the game opens up maps and new roads to explore.

 

Following my own Bales' rules, I cannot pick a title twice. See Zig-Zag as an avatar of Raúl Ruiz's O Território [The Territory] from 1981.

 

Rat Life and Diet in North America (Joyce Wieland, 1968)

Jul

4

Independence Day

Rat Life and Diet in North America (1968)

Rats – gerbils actually – nibbling on the Stars and Stripes (via). DP: Joyce Wieland.

A movie set in the USA for Independence Day (USA)

“This film tells a story of rebels (played by real rats) and cops (played by real cats). After a long domination by cats, the rats escape from prison (this is their rebellion) and find refuge in Canada. There, they feed on organic produce from a garden where the grass hasn’t been sprayed with DDT.”

– Jonas Mekas, via

French-Canadian patriot Joyce Wieland tells a fable of freedom.

 

Coincidentally, the Canadian city of Trois-Rivières, scene of the final battle of the American Revolutionary War, also celebrates an Independence Day on the fourth of July.

Пасифик 231 [Pasifik 231 / Pacific 231] (Mikhail Tsekhanovskiy, 1931)

Jul

2

Pasifik 231 (1931)

Musicians superimposed over the locomotive's pistons. DP: Leonid Patlis.

A mode of transportation to get me to my ideal vacation destination*. And yes, I would travel to an island by transcontinental locomotive

“What I sought in 'Pacific' was not the imitation of the sounds of the locomotive, but the translation of a visual impression and a physical enjoyment through a musical construction. It starts from objective contemplation: the quiet breathing of the engine at rest, the effort of starting, then the progressive increase in speed, to arrive at the lyrical state, the pathos of the 300-ton train, launched in the middle of the night at 120 km/h.”

– Arthur Honegger, Dissonances. Revue musicale indépendante (1925) (via)

Hinted on in Abel Gance's La Roue (1923), composer Arthur Honegger's Пасифик 231 follows the narrative of a stream train ploughing through the night. The conductor's gestures mirror the fireman's and slowly, the machine comes to live. The music becomes abstract, machine-like, in its rendition of pistons and valves. Using double exposure and Soviet montage theory, music and movement become one. The Futurists, if not opposed to the Soviets that is, would have had a field day with this outing.

 

Il mare [The Sea] (Giuseppe Patroni Griffi, 1962)

Jul

1

Il mare (1962)

The actor (Umberto Orsini) looking out over the island. The claustrophobic framing of the hotel windows contrasts sharply with the openness of the sea. DP: Ennio Guarnieri.

My ideal vacation spot, country, city, town, or resort*

 

An island, in this case Capri (granted I've never been there), off-season, in a space and time lost in the mists. It'll occasionally rain and it's cold enough to dress up.

 

Combat de boxe (Charles Dekeukeleire, 1927)

Jun

30

Mike Tyson – 1966

Combat de boxe (1927)

One of the fighters receives a direct hit. The camera is so close that we see abstract shapes, texture and contrast before recognising the scene. DP: Antoine Castille.

A [favourite] athlete in a film role for Mike Tyson's birthday

“But this art of total synthesis that is Cinema, this fabulous newborn of Machine and Sentiment, is beginning to cease its moans and is entering its infancy. Its adolescence will soon arrive, seize its intelligence, and multiply its dreams; we ask that we hasten its development, precipitate the advent of its youth. We need Cinema to create the total art toward which the other arts have always tended.

– Ricciotto Canudo, Gazette des sept arts, 1923 (via)

The match you see is real, between two actual fighters. Paul Werrie's rhythmic poem served as the basis. Everything else is illusion made flesh with what was available. An empty painter's studio, a few friends, footage of a crowd, a deep comprehension of the Kuleshov effect and rapid Soviet-style editing. Dekeukeleire places us from the safe world of the spectator right in the line of fire. But there's no release like in James Williamson's The Big Swallow (1901). Without that gimmick, cinema enters Canudo's realm, as the seventh art.

Florentina Hubaldo, CTE (Lav Diaz, 2012)

Jul

29

International Day of the Tropics

Florentina Hubaldo, CTE (2012)

A small river in the outskirts of the jungle. A young woman sits in the water cradling an older woman, like a Pietà. A man, in the same water, is slumped in a wooden chair. A third woman is standing there, looking at us, her head slightly tilted. DP: Lav Diaz.

A film set in a tropical location for the International Day of the Tropics

“We Malays, we Filipinos, are not governed by the concept of time. We are governed by the concept of space. We don't believe in time. If you live in the country, you see Filipinos hang out. They are not very productive. That is very Malay. It is all about space and nature. [...] In the Philippine archipelago, nature provided everything, until the concept of property came with the Spanish colonizers. Then the capitalist order took control. [...] The concept of time was introduced to us when the Spaniards came. We had to do oracion [pray] at six o'clock, and start work at seven. Before it was free, it was Malay.”

– Lav Diaz, via

Popiół i diament [Ashes and Diamonds] (Andrzej Wajda, 1958)

Jun

27

National Sunglasses Day

Popiół i diament (1958)

Maciek Chelmicki (Zbigniew Cybulski) wearing his sunglasses in a dark, almost German Expressionist space, embellished with meandros. DP: Jerzy Wójcik.

[The best] sunglasses in film for National Sunglasses Day (USA)

– Why do you always wear those dark glasses?

– A souvenir of unrequited love for my homeland.

According to IMDb, the sale of sunglasses in Poland went through the roof after this film was released and Cybulski became his country's very own James Dean.

Poslední trik pana Schwarcewalldea a pana Edgara [The Last Trick of Mr. Schwarcewallde and Mr. Edgar] (Jan Švankmajer, 1964)

Jun

26

National Handshake Day

Poslední trik pana Schwarcewalldea a pana Edgara (1964)

Mr Schwarcewallde and Mr Edgar on stage. Both are puppeteers in Edwardian costumes and oversized papier-mâché heads. DP: Svatopluk Malý.

Characters shake hands on National Handshake Day (USA)

 

Two illusionists compete with increasingly incredible tricks, sealed with a hefty handshake.

Die glücklichen Minuten des Georg Hauser [The Happy Minutes of Georg Hauser] (Mansur Madavi, 1974)

Jun

25

National Day of Joy

Die glücklichen Minuten des Georg Hauser (1974)

In a moment of total bliss, Georg Hauser (Walter Bannert) wrecks a car (via). DP: Mansur Madavi.

A character who is happy on the National Day of Joy (USA)

“Grünes Licht für ehrgeizige, strebsame und arbeitswillige junge Menschen.”

Georg Hauser's life is a drag. He gets up to drive his car to the same office to do the same thing surrounded by the same people everyday, just to make money to do the same thing all over again. Then, his glasses break and the new pair makes him see things a bit differently.