Her Moves Joseph Bernard, 1985
Bernards final film, Her Moves (1985), signals a significant shift away from all of the films that preceded it. Here, at last, there is performance: a dozen women each perform a single task for the camerawalking a dog, playing a cello, serving a tennis ball, dancing ballet, and, perhaps in the most mysterious instance, appearing in a film. There is the sense of Muybridge in reverse; having spent a decade de and recomposing the world to bring forth its relations with maximum clarity, Bernard now turns his attention to motion as such, allowing illusionist movement back into the image while retaining an allover rhythmic quality. It is his strangest, his most overtly political, and his most conventional film.
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