“I like to remember things my way… which isn’t necessarily the way they happened.”
(David Lynch, Lost Highway)
This project stems from the suggestions of James Ellroy’s “My dark places”. James Ellroy’s mother was murdered. Thirty-six years later Ellroy reopens the investigation. A corpse, four suspects, the crime scene and the clues to the solution of the crime are the elements used to reinvent the possible chronology of events. The action is placed in space and time, precluding its description or its own setting, in relation with the clarity of Ellroy’s writing and with the jazz modal trend, to determine the rhythm of the show. Violating the rules of romance to maintain the ambiguity of the non-story. Obtain a short-circuiting narrative fabric that paradoxically dislocates itself in the same temporal dimension when it falls apart. As in the memory of a dream: «It wasn’t you. I knew it was you, but it wasn’t you… ”Images fixed for a moment on the retina, filed in the most remote part of the brain and fished out almost by chance under the stimulus of suspicion. Entering a temporal flow already in progress. The dramaturgical texture is complex, articulated, composite, thick, layered with single elements, single actions, simple, subtle, linear fragments. A superimposition of transparencies, multiplication of analogies and enigmas. No one shows up or is ever addressed, we can only speculate who the supporting actors are: friends, comrades, policemen, suspects … Detect the clues, reconstruct the missing path through incongruent testimonies. Go by breaking down chronological planes, by multiplicity of simultaneous perspectives not perfectly coinciding. There is no objective trace of the facts in themselves, there are only partial and not always superimposable versions. The research point on which we are moving is that of plumbing the sound, the body, the word, adding them to obtain a product that is third. To merge these three elements so that they become the vehicle of a vision, so that they transform and crumble a reality by showing and unmasking themselves. Sound taken in its ability to stylize itself, capable of bringing closer to a deeper original and ideal model of sensitive things in its speech. An invasive background “white noise”, sounds that haunt the space as in an interior monologue and spread an atmosphere. The word assumes the function of an image by moving between caption and speech in search of an addition that results in the clue. The scenic actions are temporally and rhythmically unglued, overlapping, as if drawn on different layers of transparent paper. Daily actions in contrast with bodies intent on meticulous obsessive rites. The lights become part of the scenic actions; maneuvered from within, they do not have the function of illuminating places or gestures but open portions of time. They reveal bodies and colors already made, caught in the unfolding of their actions, as if fallen from above. The images are already composed at the moment of their appearance. Attention to illuminate small details. Detail as a clue, possible evidence to find the killer. Meticulous probing of small spaces and portions of meat looking for evidence.
“Only a spectacular execution is capable of revealing what usually escapes attention.”
(Georges Bataille, “Eroticism”)