“WENDY AND LUCY” 2008 | 1h20’ [US] | 2 FILMS: KELLY REICHARDT Cinema Screenings
Details
## CicloTEMPORALIDADE E DECADÊNCIA: 2 FILMES DE KELLY REICHARDT
CINELAB/IFILNOVA, no âmbito do projecto Cinema and Ecosophy: Values, Eco Narratives and Deep Ecology (2024.16542.PEX) / FCT
[TEMPORALITY AND DECAY: 2 FILMS BY KELLY REICHARDT Cinema Screenings]
Curadoria de Henrique Brazão
“WENDY AND LUCY” 2008 | M/12 | 1h20’ [US]
De Kelly Reichardt
Sábado Dia 06/06 às 19h30 [Saturday 06/06 at 7:30pm]
Ao longo do verão, uma sucessão de acontecimentos infelizes desencadeia uma crise financeira na vida de uma jovem mulher, que vê lentamente o seu mundo desmoronar-se.
Over the summer, a series of unfortunate happenings triggers a financial crisis for a young woman and she soon finds her life falling apart.
Spoken in English | Subtitled in Portuguese
Mais info e reservas:
More info and reservations:
https://prosacultural.org/cinema/temporalidadeedecadencia
Kelly Reichardt (b. 1964), one of the major figures of contemporary American independent cinema, is above all a filmmaker of time. Although her work has often been associated by critics and scholars with the urgency of “slow cinema” within the international festival circuit of the early twenty-first century — a controversial grouping of heterogeneous cinematic worlds inhabited equally by Pedro Costa, Béla Tarr, and Tsai Ming-liang — it may be more accurate to define her beyond questions of rhythm that inevitably emerge through comparison with other film traditions. Reichardt’s temporalities do not privilege contemplation, nor do they create refuges of stillness or counterpoints to the supposed vertigo of an endlessly accelerated image-flow in an inherently fast world. Delay, waiting, and stagnation arise instead as consequences of the economy of attention proposed by her cinematic gesture: a focus on the margins of larger currents of events, a vast tableau of microscopic interactions between people, animals, and rural or industrial landscapes — ubiquitous motifs throughout her films — remnants of unresolved historical and economic projects.
In Wendy and Lucy (2008), Reichardt collaborates once again with Raymond on the screenplay, continuing her project of unveiling structures in decomposition, here through the exposure of successive institutional failures along the condemned trajectory of an unprotected woman. Marking the beginning of her collaboration with actress Michelle Williams, the film consolidated Reichardt as a filmmaker of a new neorealism — a voice for the renewed social concerns of the twenty-first century, without the nihilism of mumblecore or the moralism of the quirky indies that proliferated throughout the 2000s. Narrative arcs devoid of catharsis, systematic obstacles to the protagonist’s agency, and the institutional weight imposed upon human and animal relations: through editing — always undertaken by Reichardt herself — Wendy and Lucy constructs a temporality of apparent stagnation and inevitable decay.
Developed within the framework of the project “Cinema and Ecosophy: Values, Econarratives and Deep Ecology,” this cycle also highlights a transversal motif within Reichardt’s work: her attention to landscape as a space shaped by human action, economic precarity, and the traces of failed historical projects. Although Night Moves (2013) represents the most explicit articulation of these ecological concerns, in Old Joy and Wendy and Lucy Reichardt already reveals forms of exhaustion inscribed within spaces and within the relationships between humans, animals, and territory. Nature never emerges as an idealised refuge or as something external to the social world, but rather as an extension of those same structures of exhaustion, abandonment, and instability.
(Curatorship by Henrique Brazão)
All Cinema PROSA films will be shown on an illuminated pixel (65’’ QLED screen) in a room with a maximum capacity of 24 spectators.
Come and have a glass of wine or a non-alcoholic drink in the cinema room with us!