As the Dunedin Film Society Management Committee’s paramount concern in these uncertain times is the safety and well-being of all our members, all screenings are postponed indefinately. Thank you very much for your understanding. Take care and keep safe!
Wednesday 25 March at 7.30pm – Postponed
Julian Rosefeldt│Germany│2017│94 mins│M offensive language & drug references
Features Cate Blanchett in 13 different roles, performing various types of manifestos from different time periods, with contemporary scenarios. Manifestos are depicted by 13 different characters, among them a school teacher, factory worker, choreographer, punk, newsreader, scientist, puppeteer, widow, and homeless man – in each, the character recites parts of a manifesto of a political or artistic movement. “Each of the 13 vignettes in the work is a ‘text collage’ of sorts, in which Rosefeldt stitched together lines from the writings of individual artists such as Claes Oldenburg, Sol LeWitt, Yvonne Rainer and Jim Jarmusch and groups including Surrealists, Situationists, Futurists and Dadaists. The scenes playing out on-screen — in which Blanchett delivers the manifesto lines to other characters or directly into the camera — aren’t necessarily related to the words being spoken. But the disconnect, Rosefeldt says, may force the viewer to think harder, pay closer attention. In one scene… representing conceptual art and Minimalism, Blanchett’s staccato-sounding, perfectly erect news anchor says, deadpan into the camera, ‘All current art is fake,’ a line from appropriation artist Elaine Sturtevant… One factor that binds most of the manifestoes is that they were written when the authors were young. They share a youthful bluster and a rebellious spirit. This is especially evident at the end of each loop, when the sound is most synchronized. The characters all speak at once, in rapid monotone, as if the manifestoes are in dialogue with one another. The collective volume steadily rises until little is discernible. It’s at once passionate, intriguing and disconcerting.” Deborah Vankin, Los Angeles Times.
— Screened in association with the 2020 Dunedin Fringe Festival —