Michel Gondry, Video for Kylie Minogue’s “Come Into My World” (2002).

Sep 26 2010 Published by Benito Vergara under notes

Come Into My World

Oh to live in a world populated by endless Kylies, in all their pink and light blue splendor, blonde curls forever tossed by the wind, a bombshell calmly oblivious to the chaos blooming around her, duplicate upon duplicate, doubling and redoubling into infinity. Or it may be some sort of cursed recursion, a tangled loop where Kylie after Kylie after Kylie proliferate uncontrollably, a world into which you may not want to come: Kylie, eleison. In his feature films Gondry has shown an interest in repetition (the joy of repetition really is in him, as Hot Chip once sang), about the possibility of eternal return, but it’s in this video – shot in fifteen takes, a disappointingly finite number – where the idea sees its clever visual fruition. (It’s also my favorite Gondry work so far.) Or perhaps it’s a sly comment on the world of celebrity: the steady accretion of public personas amidst the media swirl, as omnipresent cameras stalk her in the streets as she performs the ordinary act of picking up her own dry cleaning, until she and we lose track of the real Kylie amidst the multitudes of Kylies, Kylie ceaselessly imploring you to lift her up, up, high upon your love, condemned to strut forever on an infinitely scrolling catwalk.

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Michel Gondry, Leos Carax, and Bong Joon-ho, "Tokyo!" (2009).

Mar 22 2009 Published by Benito Vergara under review


I think it might have been Sofia Coppola – was it in that awkward interview that was part of the DVD? — where she reveals that Lost in Translation didn’t have to be set in Tokyo, and could have been anywhere. (Or was that Danny Boyle talking about Mumbai and Slumdog Millionaire?) There’s an odd sense in which Tokyo!, the surreal cinematic triptych featuring films by Michel Gondry, Leos Carax, and Bong Joon-ho, takes the city, its streets, and its cramped apartments for inspiration, but seemingly little else.

Part of what makes Tokyo! so potentially appealing to critics (and to myself, at least) was the backgrounds of its directors, none of whom were from Japan (or Tokyo, for that matter): one (Carax) from France, one (Bong) from South Korea, and one (Gondry) just possibly from outer space. The idea, I think, was that their particular national sensibilities – or, at least on a more generic level, their being not-Japanese – would inform and create different perspectives on Tokyo. But such an appeal, i.e., that difference, seems premised on a kind of national essence – whether Japanese or French or Korean – that doesn’t quite sit well with me. Still, here we have three very different directors, with different cinematic sensibilities (though I confess I haven’t seen anything else by Carax), but the result is something of a misfire all in all.

I’ve never been to Japan or Mumbai, but there’s something about those two films mentioned above in the first paragraph that’s very clearly anchored in location, even if storywise the plots can be transplanted. It seems, at first glance, that there’s nothing specifically Japanese about Tokyo!… and yet I find myself slipping into that same “fallacy” about Japaneseness. (How exactly would I envision something “typically” Japanese? Would I have been satisfied if Gondry animated some giant marauding Hello Kitty, creating havoc across a country landscape?)
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