シャンタル・アケルマン監督『故郷からの手紙/家からの手紙』(1977)
愛娘へに書き施す言葉に憑依する人生のさまざまな憧憬や哀しみ。
届いた言葉もまた街の喧騒に掻き消されていく。
ひとつの孤独がまもられるために。
固定ショットの中に刻々と姿形を変える荒廃した街の営みが映っている。重ねられる母からの手紙の言葉が愛の膜を張って、アケルマンのみている景色が優しくなったり、景色は景色としての強度を保ってその言葉すらも掻き消してしまったりする。
まるで、ジーン・ウェブスターの「あしながおじさん」のおじさん側(手紙をもらう側)にアケルマンがなりきったよう。家族の絶え間ない言葉が時に鬱陶しくて、でも欲しくて、というアケルマンの葛藤が現れているようだった。おじさん、といえば、本作に登場する電車の中で(おそらくカメラと監督の存在に気がついて)じっとこちらを見つめつつ、奥の車両へと移動していく黄色い服(だったとおもう)おじさんのショットは5億円の価値があると言い切りたい。市場価値の発掘。作品中の作品。おどろきーニューヨークこんなに堂々とカメラが置けるの？ どうやって撮っているの？ ー
``News from Home'' (1977) directed by Chantal Akerman
The various longings and sorrows of life that are possessed by the words he writes to his beloved daughter.
The words that reached me were also drowned out by the hustle and bustle of the city.
For one loneliness to be protected.
Fixed shots show the life of a dilapidated city whose appearance changes every moment. The words of his mother's repeated letters spread a film of her love, and the scenery Akerman is looking at becomes gentler, and the scenery retains its strength as a scenery, drowning out even the words.
It's as if Akerman has impersonated the uncle (the one who receives her letters) in Jean Webster's ``Uncle Foot.'' Akerman's constant words from her family were sometimes annoying, but it seemed to reflect Akerman's conflict of wanting something. Speaking of the old man, there is a shot of the old man in yellow clothes (I think it was) on the train that appears in this film, staring intently at us (probably noticing the presence of the camera and the director) and moving towards the train in the back. I would like to say that it is worth 500 million yen. Discovering market value. A work within a work. Surprising New York How can you place a camera so proudly? How do you take pictures? -
