Chinese Roulette is stylistically and philosophically a piece of screen art.
Toss a copper to Rimbaud and pray you are capable of navigating the forces this film undulates towards you.
The possibilities of the film's meaning are vast, each word is infused with the power of creation, this film epitomizes the relationship between viewer and what is viewed - you are both an active and passive force that must navigate the active and passive energy that erupts from the film.
You are the creator and the film is your creature, and the film is the creator and you are its creature. A bit Polanskian.
A lot of Rimbaudian elements to this film, the more you understand Rimbaud's worldview, the richer the meaning of this film. There is also a Trinity/religious element to this film.
Angela can be interpreted as a foil of Jesus (not exactly like Jesus but not antithetical to Jesus), she challenges the corruption around her, and is perhaps justly killed at the end.
Angela, like Rimbaud's Drunken Boat, is set adrift by her parents the moment they opt to maintain a facade of marriage for her sake yet embark upon open relationships. Angela, like the Drunken Boat, dualistically suffers the sea as a vast and sublime force and orchestrates the sea through her own powers. She is both object and subject of her own anger/derangement, and she forces other around her to be both object and subject to her anger/derangement. She drifts back and forth between being a creator/manipulator and passive creation of her parents.
Inside her mind, into the furious lashing of the tides, More heedless than children's brains, the other winter I ran! And loosened peninsulas Have not undergone a more triumphant hubbub.
She uses the power of language - which Rimbaud heavily meditated upon and utilized (through his poetry was trying to create a quintessential universal language) - in the Roulette game to destroy her mother, and nearly succeeds.
Angela is brass that transforms through no fault of her own into a killer bugle, she believes that she transformed through no fault of her own, yet she draws a stroke of the bow and makes the symphony stir.
Ultimately and predictably, she is both simultaneously triumphant and beaten.
Mirror, Mirror
Toss a copper to Rimbaud and pray you are capable of navigating the forces this film undulates towards you.
The possibilities of the film's meaning are vast, each word is infused with the power of creation, this film epitomizes the relationship between viewer and what is viewed - you are both an active and passive force that must navigate the active and passive energy that erupts from the film.
You are the creator and the film is your creature, and the film is the creator and you are its creature. A bit Polanskian.
A lot of Rimbaudian elements to this film, the more you understand Rimbaud's worldview, the richer the meaning of this film. There is also a Trinity/religious element to this film.
Angela can be interpreted as a foil of Jesus (not exactly like Jesus but not antithetical to Jesus), she challenges the corruption around her, and is perhaps justly killed at the end.
Angela, like Rimbaud's Drunken Boat, is set adrift by her parents the moment they opt to maintain a facade of marriage for her sake yet embark upon open relationships. Angela, like the Drunken Boat, dualistically suffers the sea as a vast and sublime force and orchestrates the sea through her own powers. She is both object and subject of her own anger/derangement, and she forces other around her to be both object and subject to her anger/derangement. She drifts back and forth between being a creator/manipulator and passive creation of her parents.
Inside her mind, into the furious lashing of the tides,
More heedless than children's brains, the other winter
I ran! And loosened peninsulas
Have not undergone a more triumphant hubbub.
She uses the power of language - which Rimbaud heavily meditated upon and utilized (through his poetry was trying to create a quintessential universal language) - in the Roulette game to destroy her mother, and nearly succeeds.
Angela is brass that transforms through no fault of her own into a killer bugle, she believes that she transformed through no fault of her own, yet she draws a stroke of the bow and makes the symphony stir.
Ultimately and predictably, she is both simultaneously triumphant and beaten.