Véréna Paravel and Documentary Latest Lucien Castaing-Taylor, prime in two weeks of the director in Cannes, plunged into the human body in a way that is rarely seen on the screen.
Move, David Cronenberg, there is a new master’s body master in the city. Or rather, Mr., in the case of Co-Sutradara Véréna Paravel and Lucien Castaing-Taylor (Leviathan, Caniba), the latest ethnographic opus brings us not only in the world of invasive medical procedures as practiced in various hospitals around Paris, but About as far as in the human body as a long documentary feature that has ever been lost.
Says that De Human Corporis Fabrica is not because Fainhearty is a underestimated statement, because it is not like in the film Cronenberg, a large enough gore on display is a real thing – in such a way that it can be painful to watch. However, for viewers who refuse the temptation to escape from the nearest exit, an interesting view and investigation in this modern operation is an impressive experience, making us reflect on our own humanity when we witness humans are reduced into flesh and blood organisms.
For more than a decade, paravel and casting-taylor, a member of the Harvard sensory ethnographic laboratory, which was established together by the last, has used in-depth cinematic techniques to explore various aspects of our existence, as close as possible to their subjects as physical physically, and in terms of Metaphysical, maybe. In Leviathan, the first film they made together and who put them on the map, they used a GoPro camera to plunge deep into the waters of murky expeditions of fishing fishing. Other works, such as Caniba, about the cannibal of Issei Sagawa, or Somniloquies, about dreams recorded by songwriters Dion McGregor, featured Roving Close-Up Body and face that turned it into a real figure, sometimes strange on the screen.
These previous films look like natural pioneers for de Humani Corporis Fabrica, who took a step forward by piercing the skin itself, using various microscope cameras, endoscopic images, x-rays, probe ultrasonic and other instruments to reveal the inside of the body in terrible details . Not since Joe Dante’s Innerspace we have sailed through muscles and fatty tissue, intestinal tract, arteries and main organs easily. We don’t always know what we see – Is that esophagus? No, this is a penis! – But we are fixed on what we see, which can be difficult for the stomach and very beautiful in a way that can be done by abstract expressionist canvas, filled with many colors, shapes, shadows, and light.
The only guidance for this procedure is Aural: the voice of French surgeons, doctors and nurses who do them, tells the actions in the mixture of indifferent, technical jargon and, in the case of prostate surgery that is out of control, a number of expletives. No one was interviewed and no one talked to the camera; This is a fly-on-the-wall approach, except that the flies sometimes enter the body through gaps and incisions, organ enlargement and flesh hundreds of times during operations where daily medical miracles occur in front of our eyes.
The filmmaker also reduces to give us a bigger picture, trapped in fragments, from the public health system whose professionals are tense under the weight of too many patients and not enough funds and time. Shot in the Paris Hospital and Clinic network, De Human Corporis Fabrica revealed the high level of expertise and the Sangfroid of the Trained French Medical Community, and the problem, including budget and streamlining, which they faced in providing appropriate care to the sick and the elderly.
Among the many medical scenes described, paravel and casting-taylor confirmed to include those who reveal human life from the beginning to the end. There is an explicit Caesar -born scene that will make some of the spectators win their Dramamine, and the scene in a morgue that shows the nurse of clothes dead as a body of a caribbean beat on the radio. In both cases, there are two approaches to this film: On the one hand everything looks very routine, which tends to occur for people who handle newborns and corpses every day; On the other hand, we look at life and die on the face, which can make a feeling very vulnerable but satisfied in aesthetically.
Paradox de Humani Corporis Fabrica, named based on the 16th century anatomy book written by Dutch doctor Andreas Vesalius, is that the further we travel in the body, the more like anything except the body we know. This is very well illustrated in the order in which two young doctors dissect biopsy breasts, with scorched meat lines, resembling the sides of the beef baked. In the next scene, an oncologist studies the patient’s breast cancer development under a microscope, and the pictures are enlarged to the cell level, looking like a collection of colorful paintings given by Joan Miró.
Between the operation, the director continued to reduce the psychiatric ward that was filled with blabbering older patients, showing how the damage to our nervous system – was first seen in the sequence of torturing brain surgery – manifesting itself outside. This more macro depiction of the body at work, or, more precisely, failed to work well, combined with the scene of security staff and their guard dogs patrolled in the dimly ground corridor that is dim. At some point, the intestine filled with graffiti in the hospital and intestines of patients undergoing endoscopy began to look like one and the same thing.
Therein lies the strength of the paravel and castaing-taylor cinema, which instills slices of life-or, in this case, slices of meat-with many meanings and associations. Even the random moments arrested at the end of the film, when the doctors and nurses let go during the party, took a new dimension when the DJ threw the “Blue Monday” New Order and the opening lyrics kicked: “How to do it/when you treat me like you do it /And you have put your hand over me. “This is the question that this documentary that penetrates and in -depth answers more than one way.