Focus: Finding 'Boring' Universal

a commentary

This immensity on Kiarostami, Kieslowski and the whole other directors on somewhat - as i call it - Introspective Films brought me to great heights that i could never imagine. It seems as though one touches a frame in my consciousness luring me into a transcendental stance and God knows where i could be found the other time around. 2009 is dotted with picturesque and prevalent images of much more films coming from these 'genre'.

I find a distinction, a similarity in Elephant(2003) by Gus Van Sant, Three Colors Trilogy(1993-1994) by Krzysztof Kieslowski, Taste of Cherry(1997) and The Wind Will Carry Us(1999) by Abbas Kiarostami , Eternity and a Day(1998) by Theo Angelopoulus, YI YI: A One and A Two(2000) by Edward Yang and, in some aspects, the ambitious animated film, Grave of the Fireflies(1988) by Isao Takahata. They share the same 'uncommon' ground: immateriality.

Some of the readers might say that some of these films are incredibly boring. It seems to be that the term 'boring' assumes a difficult position here because such movies depict almost the grandiosity of their themes on 'boring' parts, with the audience rather stunned or utterly bored to death by their 'insensitivity'. In this context, the probable description of boring would compose of, mainly, the quiet, sensitive moments; anti-sentimentalist accounts of common-sentimental themes(otherwise, observe in Trauffaut's The 400 Blows(1959); non-manipulative treatment of viewers(otherwise, observe greatly in horror films, debuted at Hitchcock's Psycho(1960); and a searing and overpowering long shots of the camera. However, of course this description does not partake on Takahata's Grave of the Fireflies which does not bore me at all.

The usage of the 'boring' themes, i confess, is entertaining in a subtle and immense manner. The individual and singular treatment of the viewers is completely satisfying, not to mention the snores of some of my dormates and the exaltation of the other few who have seen these movies in my room. This rather disjoint and separate views of my fellow dormates - to what i obviously call an audience - is interesting. Each one has he's own way of viewing and interpreting certain symbolism that mainstream cinema failed to explore.

Beyond the long takes there looms the advent of poetry in films - call it poetic films. The aesthetic manipulation of these auteurs lift 'boringness' into universal modes of expressions. Not all films can exhibit these themes all the same at once, but rather varied. However, if these calls for genre-focused label, i might as well dropped this argument and head straight to the bin.



I am a forever fan of Magnolia.

Wherever the winds blew me, Magnolia will continue to lit my devotion to spiritually significant films. I officially viewed Magnolia as my film starter for 2009. I find the film not boring at all.

Anyways, bye bye! MORE talk with films later.