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If a film-maker [Lucrecia Martel] sets out to make a film that defies some cinematic conventions, it seems to be odd to want to know if the Q 'Could Chekhov have made it ?' is a compliment— THE AGENT APSLEY (@THEAGENTAPSLEY) May 8, 2018
Although it was not meant equivocally, it seems ironic for a writer / director who deals in ambiguity / opacity in La Ciénaga (The Swamp) (2001) to want to know if the comparison is meant kindly - if then evading it largely, by saying that Chekhov's work wasn't set in Argentina ? https://t.co/4eptbvEH9x— THE AGENT APSLEY (@THEAGENTAPSLEY) May 9, 2018
Anton Chekhov's last play, The Cherry Orchard, had sprung to mind.— THE AGENT APSLEY (@THEAGENTAPSLEY) May 9, 2018
Yet who necessarily wants a film released in 2001 to be likened to a play written 98 years earlier ?
Not if, now, one is laying store by innovation - even in a film that stays internally consistent and linear ?
'You were all drunk'
* Babel (2006)
* Berberian Sound Studio (2012)
* Drevo (The Tree) (2014)
* Unrelated (2007)
It has been firmly postulated to be a feature of Andrei Tarkovksy's work that where, say, one sees Fire, the remaining Four Elements (of Earth, Water, and Air) can be found contiguously, but which is a pattern that one might otherwise overlook. In La Ciénaga, whether or not one can seek out the others in proximity (or they are simply pervasively present), one could impose - with some slight 'fudges' - an order on various recurrences to make a new Four Elements :
* Blood [+ red wine]
* Water / ice / glass*
* Or 'Glass' could be an element in its own right, and substitute for 'Air' - though the latter is palpably there, as when
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)