"Why is any object we don't understand always called 'a thing'?" asks Dr. "Bones" McCoy in Star Trek: The Motion Picture, a typically putrid line that strives for "meaningfulness" while forgetting to include meaning. Patrick Bokanowski's work, on the other hand, seems to effortlessly arrive at the former without ever glancing at the latter, with spooky, evocative and trippy results.
His film, or thing, L'ange (1983), is one of those odd cultural manifestations that unexpectedly makes it big in Japan, like Crust, the abrasive English comedy about a boxing crustacean made as a tax write-off which enjoyed cult success in the east. L'ange played non-stop in a Tokyo art house for almost ten years, and it's easy to see why, sort of. The movie induces such an odd state, hypnotic and hypnogogic, that it really does amount to a cheaper and possibly safer alternative to hallucinogens. Bokanowski's wife, Michele, provides the ennervating,...
His film, or thing, L'ange (1983), is one of those odd cultural manifestations that unexpectedly makes it big in Japan, like Crust, the abrasive English comedy about a boxing crustacean made as a tax write-off which enjoyed cult success in the east. L'ange played non-stop in a Tokyo art house for almost ten years, and it's easy to see why, sort of. The movie induces such an odd state, hypnotic and hypnogogic, that it really does amount to a cheaper and possibly safer alternative to hallucinogens. Bokanowski's wife, Michele, provides the ennervating,...
- 1/1/2015
- by David Cairns
- MUBI
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