Το Ιdées Fixes / Dies Irae αποτελεί την πρώτη μεγάλου μήκους ταινία της Αντουανέττας Αγγελίδη και είναι ουσιαστικά η πτυχιακή της εργασία στην IDHEC (Ινστιτούτο Ανωτάτων Κινηματογραφικών Σπουδών του Παρισιού). Η ταινία είναι μια σύγχρονη, διαχρονική σπουδή πάνω στην αναπαράσταση του γυναικείου σώματος στη σύγχρονη τέχνη, την επανάσταση που δεν έρχεται, τον εγκλωβισμό στη σύγχρονη δυτική τέχνη, και μαζί ένα ρέκβιεμ του δυτικού πολιτισμού. Η Αντουανέττα Αγγελίδη παίζει με τα στοιχεία της avant-garde, αναστρέφει τους κώδικες, και εν τέλει δημιουργεί ένα «ανοίκειο» οπτικό όνειρο, που μέσω της απομάκρυνσης από την πραγματικότητα πλησιάζει το πραγματικό ως το μη αναπαραστάσιμο, έχοντας ως βάση την τέχνη της το παρελθόν της και την ίδια της την ύπαρξη. ... More
In early October, the world community was shaken by the news of the death of a cinema pioneer. In lieu of an obituary, the following “purloined” letter, which will never be read by its recipient, recounts an imaginary (and, therefore, real) encounter and insists on the meaning of this absense.
5 November 2015
Dear Chantal,
On the 3rd of October 2015, your milestone 1975 film Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles was screened in a tightly packed room in the Greek Film Archive in Athens. I was there; watching it for the first time on the big screen, enthralled. With the kind of tragic irony that only the randomness of reality can orchestrate, two days later, a month ago today, you committed suicide. Since then, I am trying to write an obituary and can’t do it. I finally chose to address you in person, as I should have done when you were still alive, given the admiration that I have felt for your work for so long.
Jeanne Dielman and your other films, fulfill the combined demands of feminism and avant-garde art; the former being encapsulated by the second-wave feminist slogan that “the personal is political” and the latter being the realization that no radical content can be expressed without radical form. The connection between feminist filmmaking and the choice of the avant-garde is not circumstantial. The avant-garde art position claims that you cannot question the dominant order by using its forms, visual and narrative, because it is inscribed in these very forms. Therefore, you can’t truly do feminist filmmaking without questioning the dominant ways of filmmaking. This realization is the hallmark of feminist avant-garde cinema, or rather its conceptual and structural definition. It was then, in the 1970s, that it became a conscious movement;i and your Jeanne Dielman was quite possibly its flagship. ... More