Gone are the glorious and glamour of high rises and luxury apartments, replaced the harsh realty of daily grinning in an industrial, often chaotic mix of poor areas with out casts who had long been neglected. Then perhaps, it could have also been the smell of real Hong Kong.
LUST IN LIMBO FULL MOVIE MOVIE
It is as if the movie theatre can release a fragrant of the movie, it would be, as what the main protagonist described, the smell of rubbish. The movie seems to actively asking audience not only looking at the stunning yet very harsh black and white visuals, but to sense the desperation of the characters, the smell of non-stop rain from trashy industrial buildings, as well as the out casts of our society but also the very places that they had to put up with. There were in the past many fine example of local production of gruesome and gritty crime stories and yet, Limbo pushes the envelope even further.
LUST IN LIMBO FULL MOVIE SKIN
Her skin is enough.Limbo is probably of one of the boldest attempt to put HK well-known crime drama along with the film noir genre. In the same way, in Michèle Lamy’s work, I see no longing for a body that society would consider radicallyĭifferent, which, in fact, would have been worthy of being shown and displayed. The bodies they might have had in another life, the one before. The paintings of Alice Neel, Maria Lassnig, or the works of Louise Bourgeois is the total absence of remorse for
Like Louise Bourgeois, whose public image, during the end of her long life, bouncedīetween the cultural stereotypes of the “old woman” and the “child” traumatised by her father’s infidelity – as if,Īt more than 90 years of age, one still only existed by being someone’s daughter! What has always struck me in The viewers – outraged that artists who are women are most often treated like kids or “unworthy old ladies“, At the age of 80 or so, they portrayed themselves as they wished – brush in hand or pistol pointed at To both – there have been vigorous nude self-portraits by women painters, Maria Lassnig or Alice Neel, forĮxample. Against this world which condemns them to either witchcraft or invisibility – and often Griffin, sphinx, witches, and female figures who summonĪnimalistic bodies and esoteric knowledge are often associated with old age by a heterosexual male world stillĪnxious about its power. When you look at her hand on the bed, you see claws. So fixed, her stare does notĮxpress any recognisable emotion, and besides – the paradox is apparent – she does not see you since you have to Let me explain this nuance, which has to do with time-stopping and with you whoĪre watching, as witnesses, this gaze gleaming from beneath her charcoal eyelids.
You have been observed now for a while whilst time is suspended by this stare – hers. Michele Lamy‘s ‘LIMBO,’ a contemporary still-life film by Michèle, in collaboration with the Cultural Institute of Radical Contemporary Art (CIRCA), is broadcasting every evening throughout November at 20:22 local time on London’s iconic Piccadilly Lights and across screens in Berlin, Melbourne, and Tokyo.ĭirected by Amanda Demme and Mollie Mills, LIMBO poses an un-retouched and tender meditation of female autonomy, love and vulnerability.
Michele Lamy presents “Limbo” a contemporary still-life film
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