The movie takes place over a single day. From the very first moment you know that you are about to be the witness of an imminent downfall. Both want to be loved, or maybe it’s all about the contrary.
‘What the fuck’, he says in one of the first scenes. ‘Without you, mine would be a life of absolute misery’. Then he points a loaded gun to his own head, trying to make her change her mind. But she doesn’t. It scares the shit out of you, it seems so real.
The girl walks towards the guy, as if going barefoot across a death defying tightrope. She gives him a knife and says ‘go ahead’. He takes the knife but does nothing.
I think ‘It takes balls to document the end of an affair with a steadycam’.
It is supposed to be autobiographical so you stay there, stuck to the theater stall, expecting something gruesome to happen as the girl was stabbed in a motel two years ago. You wonder if it’s all true, some kinda snuff, some kinda psychological violence like Albee’s.
Try to stop seeing, if you can. That’s the texture of morbid vérité.
And in the midst of that high impact dramatic climax, the girl starts talking about a fantasy she has with fucking machines. People roar with laughter.
No blood, no anything. An hour and a half of shadows and a voice-over.
I’ll tell you something, man: owning a camera doesn’t make your freaking movie worth viewing.
Txema Rodríguez
photographer
Artifice
Traveling lights
I’m pretty sure that true success (happiness) comes down to the decision to shift from frustration and fear to curiosity and fascination, and I always feel as if I am a step away from cloud nine, yet not knowing what is keeping me stuck or making me walk around with this heavy burden of uncertainty and half belief.
Next time maybe I will let things just flow at the speed of trust, abdicating all enquiry about the causes and reasons of the unfolding.
One firm spot on which to stand to move the earth
They teach me what I need to come fully alive and how to move from one moment to another as if life were a scavenger hunt.
They are also the center of gravity, the axis, the omphalos, the pivot, the transversal line that bind my worst fears: to lose them, to see them lost or hurt, to lose myself without having anchored and supplied their basic rights and needs.
Sometimes I get into some sort of inner do-or-die state of mind, a sudden divergence in my habitual style of slow cautious progress, and get antsy about shyness and this apparently natural inclination to underachievement, despite the flaming passion that drives me to photography.
It’s a wild, ambitious, greedy thing: I want a big house (for them to spend the weekends and holidays with me), I want to be famous and recognized as an artist (for them to be proud of me), I want to buy expensive things (for them to feel special), and I’m ashamed of my banal desires all at once. I’m all hollow scared of whatever the wire pulling that might may make them feel fatherless, insecure or unsupported, but also to neglect the artistic values I go after and I’m trying to be loyal as a legacy.
I take the train and travel a great deal of miles every Friday so I can give them the only richness I can offer now: my love, my physical presence, my voice soothing their growing pains and angst, and then I travel or drive back to arrive on time, have a shower and go to work, utterly exhausted.
What does it take to be seen as the only thing you can be and to earn money doing the only thing you love to do in the world? It depends so much on other people’s perception and priorities. Should I sacrifice my vocational dictum to get that money? What would I be teaching them, if so?
Most of the things beautiful and valuable and the people I couldn’t live without, I found during times and situations that demanded a lot from me or pushed me on and over this comfort zone of mine that I seldom probe. But the greatest values and lessons put before me (truth, trust, patience, surrender, love, integrity to face what I am and what I want, standing up for it even if it annoys other people and baffles my ‘likeability’) have arised from struggle and discomfort.
Robert Frost wrote that he had been through a long standing lover quarrel with life.
Maybe I can’t give my girls all the amenities that money can give (yet), but I can be an advocate of their blooming affair with upcoming opportunities and travel a ridiculous batch of miles just to hearten their beauty and breath in the audacious wisdom of their untouched instinct, and to bed cover them before sleep, in such a deep gratitude for their teaching and their existence, which is my most powerful source of motivation so far.
Maybe in the future they can read these lines and find in them the proof of their preciousness, that firm spot on which I stand to move the earth.
Hoist
She just does those things, totally unaware of her talent to stop time or defy gravity.
She humbles me, unraveling the wordless meanings of my own existence.
She makes me think about the way I cringe the dark emotions and how that avoidance is keeping me a homeless while joy is knocking the door at an empty house.
She doesn’t rush the moment, she just hangs on there like a tiny Isadora, dancing, flowing by still orstormy waters, awake, in awe, unconditionally present.
Spook
This light shining through my flesh upon things on to the ground. This light that I can barely name. This life belt, this umbilical cord, this secular appearance of a revenant God, this momentary oblivion of me.
Antiphon
I’ve gone through several nightmarish relationships in my life. As a result, my self esteem was damaged beyond remedy. The women I used to be attracted to vaccined me against any kind of complacency and self-absorption and made healthy vanity the fastest shortcut to shame.
Photography became the only acceptable excuse to demand approval and attention, the only source of comfort and relief, the emergency exit, the raw material of new beginnings after emotional downfalls and quakes. The spinal cord of my identity.
And suddenly, the biggest stroke of luck: her adventitious appearance, the unpredictable realization of all emotional needs. The struggle for survival mutated into another kind of primal drive: to give her something of great value in return. To let myself be noticed and succeed, putting this single virtue to a test. To clean up the mess left by past sentimental choices, working hard to earn her magnificent silences, giving the world something as precious as what I had been given.
I barely wheathered the storm until she reclaimed my name from obscurity. Maybe one must be completely emptied in order to be worthy of true grace.
I remember the first time touched her skin with my lenses, long before we really found each other, so even though times of economic recession are not the easiest for artists, I trust the means to find me like she did. Photography is not about distinction and celebrity, but love returning to the world like an antiphon. The privilege of channeling cardinal revelation through ordinary things.
Freeze-frame moment
The mod girl and the absent minded boy are your thoughts in their way back to you. They are also subproduct of a ritual, figments of memory, the anthropologic communion of our imagination.
This is not what you are seeing, so go scratch the print and find out the truth.
Whether this is art or not is your final responsibility. How much of it can you take?
If you can see beauty, it was somewhat impossible for me to express. Dare to cut through the flesh of my wide open eye, like Simone Mareuil’s. But test the razor on your thumb first, and bleed.
You are witnessing the collapse of reality. Do you have what it takes to stay and hold on to awareness? This is my offering: a human puja, a black and white ex-voto, a momentary state of conviction and fatefulness. A quivering surrender to your judgment.
Agent of death
It was a case of posthumous revelation.
The man was standing by her side, holding the camera with his beautiful hands, waiting for an omen, waiting for the air to move the undergrowth and the leaves, waiting for a slight change in the light, waiting to hear his own voice whispering now, totally unaware of her proximity.
She touched his coat, and his hair, wondering how warmly and slowly those hands could travel across the delicate creases of her silken dress.
He ducked to the uneven and mossy ground, trying to put all the pieces of the gravestone together.
Confused, perplexed, she read her own name, slowly, voicelessly moving her pale and deaf lips.
The man took five photographs. Four of them were trashed. He only kept the one that rendered her whole life a mystery.