Tanyaradzwa
Director Alberte Pagán
Countries
Duration 186 min
Synopsis
DOUBLE SCREEN PROJECTION Duration as a concrete dimension. The oral narration is the receiver of illusionist time: a whole life-span is being unrolled in front of us in just one hour. But that’s a pleasure only aimed at our ears. The oral narration is embedded in long fix takes, which continue unrelentingly even when the voice stops, hesitates, disappears. To counterbalance this illusionist pleasure, the long empty shots fight the oppression of narration AND at the same time are the source of narration. The camera frames the woman, in silence; what was intended as a silent portrait becomes narration when the woman starts talking. But she wouldn’t start talking without the fixity of the frame, without the duration. Illusionist time would not be possible without the concreteness of duration.
DOUBLE SCREEN PROJECTION Duration as a concrete dimension. The oral narration is the receiver of illusionist time: a whole life-span is being unrolled in front of us in just one hour. But that’s a pleasure only aimed at our ears. The oral narration is embedded in long fix takes, which continue unrelentingly even when the voice stops, hesitates, disappears. To counterbalance this illusionist pleasure, the long empty shots fight the oppression of narration AND at the same time are the source of narration. The camera frames the woman, in silence; what was intended as a silent portrait becomes narration when the woman starts talking. But she wouldn’t start talking without the fixity of the frame, without the duration. Illusionist time would not be possible without the concreteness of duration.