Last Sunday, our class met Luciano, our Representation of the Real professor. I do not have much to say about him, except that he is classic Swiss-Italian, looks like a well-groomed Bruce Vilanch, and wears designer accessories. I like to call him the Big Ball of Prada. He cannot remember anyone’s name (nor does he care to); he instead refers to people by their race or gender. Because Lyon and I are women, Luciano sees us as “naive” and “childlike” and does not seem to expect much from our work.
This Saturday after watching two wonderful films, Tishe! (Hush!, 2002) and Nobody’s Business (1996), we each played, for the entire class, a film of our very own. Mine was titled La Ligne 14. As the name suggests, I captured the footage on Line 14 of the Paris Metro. Although I shot the film on the train, I did not think of the train as the film’s subject. I was more interested in the feelings of redundancy, distance, and loneliness elicited through the dispersion of a crowd. By the end of the film, when the train reaches its last stop, the Metro is empty.
Before Tuesday, I had never shot a movie before. Before Friday, I had never edited a movie before. I do not see this as a finished work by any means; rather, I see it as a sketch, something I might like to pursue in future documentaries. I might film the end of a mass, midnight in Little India, or the disassembly of a farmer’s market. If you have read the proposal or the essay Seth and I submitted to Berkeley, you have probably noticed that I am fascinated by transitory spaces. I find it interesting that a single room can feel entirely different before, during, and after a dinner party.
If you would like to see the video, simply turn on your speakers and click here: