The slippages and contradictions between who people are, imagine themselves to be, and present themselves as being inform the structure of Machine, a kind of loose container into which people step and out of which they extract more ideal selves. Each section begins as a screen test, typically though not always of someone born in a small village. These auditions quickly b'e interrogations, with Gurchiani asking her subjects to articulate their goals for the future, and then challenging them to defend their desires.
And then, in most cases Wheel Loader suppliers and distributors, those desires suddenly take shape, as though a subject's act of wishing wills them to life. A young woman who has'e to audition on her wedding day—even costumed in her dress—begins to sing, then appears surrounded at the wedding party while her song continues. A man who left Georgia's largest city, Tbilisi, to govern a small village, moves from introducing himself to the filmmaker to standing in front of his village elders with the news that it's time for him to leave. In other instances—such as the young woman who says she felt herself to be a mother as soon as she learned she was pregnant—the subjects relive transformations that have already taken place.
The film's first auditioner is a young man who says he cries when he sees a sad stranger on the street, lost in thought, because he recognizes himself. He sets the tone for a film less regional than universal in its presentation of the human urge to reshape oneself with others' help. Gurchiani, simultaneously a viewer and character buy Wheel loader :SRRL16F from China—all the more prominent for staying unseen—shares this urge with the strangers facing her. "If I made a film about your life, would you act in it?" she asks a stand-in. Later, she adds, "If I'e with you, will you show me your life?"
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