A live-action character rather than an animation, he is nonetheless as much a media-derived caricature as the tough kid (who in one sequence casually draws a knife and spills his own guts). In and out of this shifting array wanders a bald punk clad in black leather and torn jeans.
A sexually suggestive key slides into a lock and cascades of red blood cells waft across the screen, morphing into a Valentine heart. A third is a lively group of bouncing red geometric forms, studded with flailing knobs, their sci-fi shape derived from the human immunodeficiency virus. Another is a tough kid in a striped shirt. Most are presented in different styles of animation, including old-fashioned hand-drawn cartoons and up-to-the-minute computer-generated images. Into these environments, some of them crisply photographed and others inexplicably bleached, as if glimpsed through clouded memory, Wolfson inserts a diverse cast of characters. Bustling Soho streets, sleek shelter magazine interiors, the tourist-laden Eiffel Tower, public parks, an empty gymnasium, a similarly empty artist’s studio, Caravaggio paintings and more - the settings are a mixture of the desirable and the mundane. The imagery is a similarly sampled medley of loosely recognizable bits. Fragments of yearning ballads and electro-pop, including 1960s Roy Orbison and Sasha Fierce-era Beyoncé, are interspersed on the soundtrack with periods of dead silence, which suddenly seems deafening. “Raspberry Poser” - the title conjures Prince - is in effect a 14 1/2-minute music video. Projected onto a white screen suspended on the diagonal in a white room carpeted in wall-to-wall white rug, the non-narrative video feels unmoored and adrift in a languorous state of liquid reverie. Poser just might be trying too hard.A translucent, animated condom filled with red candy hearts is an animated protagonist in Jordan Wolfson’s marvelous video installation at REDCAT, the New York-based artist’s solo debut in Los Angeles. Poser ’s ascent to the climax is slow and deliberate, the final moments of the film not nearly as surprising as they should be. The last act of the film makes a big jump into Single White Female territory, which any audience would see coming. This brief insight into Lennon’s life isn’t enough to make us care about her, believe her story, or understand anything that she does in the final act. Between montages of Lennon trying to fit in with the hip crowd, and too-quick scenes of her going to work and getting lunch with her sister, we don’t really know anything about Lennon as a person. Poser – and Sylvie Mix – have a lot of potential, but both the plot and the character of Lennon get lost somewhere. She’s got a great voice for podcasting, but despite the character’s exposition by narration, it ultimately feels like Lennon’s motivations are one-dimensional. Sylvie Mix is quietly entrancing as the outsider who just wants to fit in, but her blank, questioning stare feels genuinely empty at times and overall her performance is hollow. Poser is the directorial debut of Noah Dixon and Ori Segev, and it’s a nice study of a lost and searching soul. There’s a balance to be maintained here, and sometimes Poser does lean too heavily on sound, especially in scenes that are meant to be suspenseful and tense. The muted visuals of the film allow for sound to direct the film’s mood and tone. Like any good film about music, Poser has a strong soundtrack. Lennon tells Bobbi that she’s working on getting outside of her comfort zone it’s not the first time we’ve heard Lennon say this, and we come to realize that much of what she says is rehearsed.
Once the two meet, Lennon clings to Bobbi. Bobbi Kitten of Damn the Witch Siren stars as herself, the polar opposite to Sylvie Mix’s shy and reserved Lennon.
0 kommentar(er)
