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回复 :Stine and Teit, your average urban middle-class artists and intellectuals, leave Copenhagen for the wilds of neighbouring Sweden’s forest. Soon, they find out that something is strange there – most disturbingly – when their son Nemo suddenly thinks his mother isn’t really his mother anymore. It becomes clear once Stine and Teit discover that they have neighbours who look exactly like them – mirror images made flesh and blood.The subject of reflections and doubles is introduced in the film’s first shot: a view of a lake landscape turned 90° so that the water’s surface runs vertically through the image’s centre. Only once the shot gets tilted is it revealed which side mirrors which. Later, a mother and child are reflected in a glass door.However, this is not your doppelganger thriller of the gothic variety. Note the title: in physics, superposition means (per Merriam-Webster) "the combination of two distinct physical phenomena of the same type (such as spin or wavelength) so that they coexist as part of the same event". This is more a metaphysical meditation towards the realisation that none of us is ever alone, but also never unique.
回复 :James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?
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