I just watched the film today, and can't help thinking that Almodovar (who did the linking segments in between the films) would have formed a more perfect EROS trio with WKW and Antonioni.
Soderbergh's Equilibrium was the flimsiest and weakest short of the three for me, which was unfortunately compounded by the fact that it was wedged between WKW and Antonioni's contributions.
To follow right after the sumptuous, poetic beauty of Doyle's cinematography and WKW's direction only worked to emphasize the lack of richness in the visuals as well as characters of Equilibrium. It also drew unnecessary attention to the overtly "talky" film set mostly in the clinical settings of a shrink's office - in marked contrast to the intimacy of inner emotion and longing displayed in full abundance in The Hand. Ele Keats in the erotic "dream" sequence in Equilibrium failed to conjure up an authentic sense of eroticism and depth, unlike Gong Li's character Hua, and like the rest of film, seemed flat in comparison.
As for Antonioni, in what could very well be his last film, the sense of anticipation by the audience could have also created a lack of patience with the obviousness of Soderbergh's play between dream vs. reality, and also his mockery of psychologists/the psychoanalytic "talking cure" or therapy process.
Like many of his best, Antonioni's short is a deceptively 'simple' film that suggests something deeper: the understanding of love/eros from the perspective of free-spirited women. Like many of his films, the main protagonists are female. To better understand Antonioni's films, it would be useful to try to get into the woman's psyche. Antonioni once said that he concentrates on women in his films because "they are more instinctive, more sincere. They are a filter which allows us to see more clearly and to distinguish things." The Dangerous Thread of Things obviously continues and, in my view, succeeds in this tradition.
In the film, the first couple Cloe and Christopher shows how love can peter out when one ceases to be able to see the wood for the trees - the couple becomes too beset by petty things and the trappings of bourgeois life to appreciate greatness or grandeur in general: according to the synopsis on the film's website, "they barely notice the magnificent ruins and landscapes of Italy - let alone each other."
One senses Cloe's persistent attempts to reconnect with nature: she prefers wearing little to nothing; in the first scene, the camera lingers on her dressing to go out, the dead time of allowing us to see her awkwardness in her attempt. Her American husband, meanwhile, is impatiently waiting for her in his sports car. He snaps at her when she repeatedly expresses that what they had was now finished, and brushes it off simply as just a matter of her withholding from sex with him even as she tries to express how all that was close to her in Nature before now feels oppressive when he is around.
Christopher becomes attracted to the mystery girl who lives in a tower next door. Her freespirited cheerfulness reminds him perhaps of Cloe when they first met. He is attracted by the lack of imposed order ('chaos') within her house. She leads him up to the roof terrace - he is so affected by the magnificent view of the forest canopy that he is beyond words, momentarily forgetting even his lustful pursuit of the girl. They later make passionate love, making the most of the present without any burden or considerations about past or future. She tells him her name - Linda - he doesn't.
Christopher is now in Paris. On the phone, Cloe expresses her longing for him to return; her love is ever present; she only wishes he would change his "attitude." We don't know what she finds so problematic to constantly seek quarrel with him - but maybe his American or consumerist/materialistic values jar with her liberal European or naturist ideals constantly seeking the 'purity' of a primal closeness with nature.
The last scene of the two women taking turns doing a primal dance of unbridled joy on the beach, is rich with the symbolism of their becoming as one in spirit with nature and its rhythms. Their joyful (re)connection with nature and recognition of each other return us to that breathtakingly magical utopia at the canyon depicting two naked siren-like bathers singing in a waterfall.
In terms of image and theme, the film is reminiscent of Picasso's famous Les DeMoiselles d'Avignon. Both shock with an honest depiction of the conflict between the male (also representing modern civilisation and technological objectification) response to the perceived conjunction of threat and temptation posed by female sexuality, nature, love and eros.
To be fair, criticism of the seeming lack of stringency in the direction of the characters does to some extent hold water. There are multiple continuous shots of the couple, but these seldom convey the complexity of their relationship. Some of the shots could also conceivably have been better conceptualized and captured.
This lapse is probably attributable not only to Antonioni's advanced age and health problems, but also to less than ideal cinematography. In a recent Taiwanese TV interview, WKW commented that the reason for any director in his 90s and not in the best physical capacity to want to still make a film would be to satisfy a desire, a love - perhaps this is precisely the eros in the world of film-making that is ultimately portrayed by these directors in the eponymous production.
On the level of ambition and theme, however, Antonioni is still in his element. He did not set out to make just another softcore porn movie as most critics and viewers suggest, nor can it be said to be about nothing. "The Dangerous Thread of Things" is an accomplished film that will in time hopefully be seen for the real gem that it is.
Soderbergh's Equilibrium was the flimsiest and weakest short of the three for me, which was unfortunately compounded by the fact that it was wedged between WKW and Antonioni's contributions.
To follow right after the sumptuous, poetic beauty of Doyle's cinematography and WKW's direction only worked to emphasize the lack of richness in the visuals as well as characters of Equilibrium. It also drew unnecessary attention to the overtly "talky" film set mostly in the clinical settings of a shrink's office - in marked contrast to the intimacy of inner emotion and longing displayed in full abundance in The Hand. Ele Keats in the erotic "dream" sequence in Equilibrium failed to conjure up an authentic sense of eroticism and depth, unlike Gong Li's character Hua, and like the rest of film, seemed flat in comparison.
As for Antonioni, in what could very well be his last film, the sense of anticipation by the audience could have also created a lack of patience with the obviousness of Soderbergh's play between dream vs. reality, and also his mockery of psychologists/the psychoanalytic "talking cure" or therapy process.
Like many of his best, Antonioni's short is a deceptively 'simple' film that suggests something deeper: the understanding of love/eros from the perspective of free-spirited women. Like many of his films, the main protagonists are female. To better understand Antonioni's films, it would be useful to try to get into the woman's psyche. Antonioni once said that he concentrates on women in his films because "they are more instinctive, more sincere. They are a filter which allows us to see more clearly and to distinguish things." The Dangerous Thread of Things obviously continues and, in my view, succeeds in this tradition.
In the film, the first couple Cloe and Christopher shows how love can peter out when one ceases to be able to see the wood for the trees - the couple becomes too beset by petty things and the trappings of bourgeois life to appreciate greatness or grandeur in general: according to the synopsis on the film's website, "they barely notice the magnificent ruins and landscapes of Italy - let alone each other."
One senses Cloe's persistent attempts to reconnect with nature: she prefers wearing little to nothing; in the first scene, the camera lingers on her dressing to go out, the dead time of allowing us to see her awkwardness in her attempt. Her American husband, meanwhile, is impatiently waiting for her in his sports car. He snaps at her when she repeatedly expresses that what they had was now finished, and brushes it off simply as just a matter of her withholding from sex with him even as she tries to express how all that was close to her in Nature before now feels oppressive when he is around.
Christopher becomes attracted to the mystery girl who lives in a tower next door. Her freespirited cheerfulness reminds him perhaps of Cloe when they first met. He is attracted by the lack of imposed order ('chaos') within her house. She leads him up to the roof terrace - he is so affected by the magnificent view of the forest canopy that he is beyond words, momentarily forgetting even his lustful pursuit of the girl. They later make passionate love, making the most of the present without any burden or considerations about past or future. She tells him her name - Linda - he doesn't.
Christopher is now in Paris. On the phone, Cloe expresses her longing for him to return; her love is ever present; she only wishes he would change his "attitude." We don't know what she finds so problematic to constantly seek quarrel with him - but maybe his American or consumerist/materialistic values jar with her liberal European or naturist ideals constantly seeking the 'purity' of a primal closeness with nature.
The last scene of the two women taking turns doing a primal dance of unbridled joy on the beach, is rich with the symbolism of their becoming as one in spirit with nature and its rhythms. Their joyful (re)connection with nature and recognition of each other return us to that breathtakingly magical utopia at the canyon depicting two naked siren-like bathers singing in a waterfall.
In terms of image and theme, the film is reminiscent of Picasso's famous Les DeMoiselles d'Avignon. Both shock with an honest depiction of the conflict between the male (also representing modern civilisation and technological objectification) response to the perceived conjunction of threat and temptation posed by female sexuality, nature, love and eros.
To be fair, criticism of the seeming lack of stringency in the direction of the characters does to some extent hold water. There are multiple continuous shots of the couple, but these seldom convey the complexity of their relationship. Some of the shots could also conceivably have been better conceptualized and captured.
This lapse is probably attributable not only to Antonioni's advanced age and health problems, but also to less than ideal cinematography. In a recent Taiwanese TV interview, WKW commented that the reason for any director in his 90s and not in the best physical capacity to want to still make a film would be to satisfy a desire, a love - perhaps this is precisely the eros in the world of film-making that is ultimately portrayed by these directors in the eponymous production.
On the level of ambition and theme, however, Antonioni is still in his element. He did not set out to make just another softcore porn movie as most critics and viewers suggest, nor can it be said to be about nothing. "The Dangerous Thread of Things" is an accomplished film that will in time hopefully be seen for the real gem that it is.