Von Innen; von Aussen
- Albert Sackl |
- 2006 |
- 20 minutes |
- COLOR |
Rental Format(s): 16mm
"Von Innen, von Aussen is a wonderfully unnerving, scrutinized, study of the human body within the context of its environment. The film opens with an empty apartment set in motion, revolving around a fixed point. This introduces the kinetic fixation that Sackl explores thoroughly within the film, the revolution. Implications of the revolution within man's own self-image and man's historic worldview seems to be the larger conceptual concerns of the work.
"The revolution is then applied to man, himself, where Sackl plays out in a score of variations on the theme. At first, we see an unidentified nude male subject revolving clockwise on his central axis in front of a black background. It is evident that the backdrop is part of the apartment, but it clear that Sackl intends it to be an empirical environment for one portion of his study. Sackl then sets the revolving man in motion back and forth across the face of the backdrop. Sackl continues his formal investigation sending the revolving man back and forth in space. The next major development is that the image splits and we view the man in stereo. The two men's revolutions are synchronized at first, then each takes on his own timing and direction.
"At this point the viewer could easily define the film as simply a visual analysis of the male figure in highly ordered motion, but then Sackl presents the environment as variable. Suddenly, the black background is lifted and anonymous natural background is presented. The landscape is initially vacant, but the spinning man soon enters stage right and makes his way back and forth, revolving all the while. The film soon cuts back to the black background where more variations are played out, the most noteworthy being the superimposition of the man's front and back. The visual biomorphism is totally bizarre. Throughout the remainder of the film, the environment continues to shift between the apartment, natural landscapes and the black backdrop. In the end, the empiricism of the blackened space is beautifully tainted by rays of sunlight that are projected onto the scene from a window behind the camera.
"Ultimately, the film has a truly meditative quality, a meditation that encompasses our notions about our bodies and the rules that govern it, both environmental and self-imposed. The precision of the filmmaking is overwhelming, in a way that is echoed in the movements of the male model. Something within the tight order applied to the man's body brings to mind the iconic work of Leonardo de Vinci, which imposes perfect geometries atop the human form."
-Noah Manos, TIE