Again, I’m away from my Cinema Scope collection, but this time the Michael Sicinski article that put me in touch with Silva’s work is available online.
In The Absence of Light, Darkness Prevails (2010)
Chintzy dance music plays over astronomical images perverted by interlaced video screens. Reverse monochrome of baby sea turtles heading into the ocean. Some kind of costumed street event. Weedwhacking the jungle. The camera playing with a campfire. And so on, the sound design ranging from innocuous to annoying. Shock ending, the camera suddenly escaping the planet through a hole in the ground!
Per MS, this was filmed in Brazil and “examines human and animal experience at multiple levels of abstraction … this is the film in which the subjective element in Silvaâ€™s work is fully incorporated into a total way of seeing, one not bound to individual history or biography.”
The Watchmen (2017)
Naked man in a field, then a pulsing light, lasting for just long enough that I assumed the rest of the movie would be the pulsing light, but no. Prison yard, prison wall, abandoned prison, prison guard tower – so there’s the title. Various hot dog places. Return to the naked man and the pulsing light, with a voiceover about the watchman. Very mysterious.
The Watchmen takes as its subject Illinoisâ€™ now-defunct Joliet prison, perhaps best known for being featured in 1980â€™s The Blues Brothers … Silva stands at the heart of the prison and starts spinning his camera, faster and faster, describing the curved walls of the panopticon; not coincidentally, the flicker and blur of this accelerated image, with flecks of light disrupting the darkness, forms a combination camera obscura and phenakistoscope.
Ride Like Lightning, Crash Like Thunder (2017)
A perversely looped version of “Pale Blue Eyes”… a bird trapped in an apartment… the title card made from a Metallica album cover. A guy plays us the intro to Prince’s “Let’s Go Crazy.” A red-coated birdwatcher gives an unexpected callback to Brown Thrasher. Reappearing scary hands creep from behind objects.
Hey look, it’s what I hope to get out of watching these shorts:
Hey look who’s in this:
Ride Like Lightning, Crash Like Thunder was Silvaâ€™s final film before embarking on the Rock Bottom Riser project … A return of sorts for Silva to the Hudson River region of New York, where the filmmakerâ€™s alma mater Bard College is located, Ride Like Lightning is not explicitly about experimental filmmaker (and Bard professor) Peter Hutton, but shares with Huttonâ€™s work a keen fascination with the Hudson River area, its landscape and shifting seasonal character.