Filmgrenser: Eternity and a Day
MIA AIONIOTIKA KAI MIA MERA/ ETERNITY AND A DAY (Greece 1998, English subtitles)
Directed by Theodoros Angelopoulos. With Bruno Ganz, Isabelle Renauld, Fabrizio Bentivoglio.
Mia aioniotita kai mia mera follows the final days of Alexandre (Bruno Ganz), a celebrated Greek author. He has been diagnosed with terminal illness and prepares to leave his seaside home for what he feels is the last time. While preparing to depart, he finds a letter from his long-dead wife, Anna (Isabelle Renauld), who wrote about a memorable summer day they spent over thirty years ago. From that point, Alexandre embarks on a metaphysical journey through his past and present with the help of a young street urchin boy that crosses his path. Realizing that after spending his entire life chasing after the words of poems and novels, Alexandre wants a final chance to capture the lost precious moments of true happiness that he now realizes, even if only for one day.
The fluidity of time and character in the narrative structure is a hallmark of Angelopoulos' work and a direct descendant in technique and tone of films by Ingmar Bergman. It is both an ideal format for allowing onscreen explorations of interior journeys and a format that no other medium than film is better suited to exploit.
Eternity and a Day has an abundance of imagery from the director's fertile imagination. There are at least three variations on people at fences, most graphically, a shot at the Albanian border where a high wire fence is dotted with clinging would-be refugees yearning to get to the other side. There is a poet from the nineteenth century, in stovepipe hat, buying words for his poems. Ships and busses recur. One fine scene has Alex and the boy riding a bus while a parade of passengers gets on and off, including a trio of musicians who enter the bus and play a minor key waltz. There are three people on bicycles who pedal in and out of scenes, dressed in bright yellow slickers. There is a plenitude of abandoned buildings and empty rooms.
We meet geographical and political borders impossible to cross. At the same time the film itself crosses borders of time, of ages, of reality and imagery, dealing with the border between life and death.
The film won the Palme d’Or and the Prize of the Ecumenical Jury at the 1998 Cannes Film Festival.
Hanna H. Hansen
FILMGRENSER:Etter den store suksessen med Filmgrenser serien høsten 2010 er vi nå i gang igjen. Filmgrenser 2 tilnærmer seg grensebegrepet fra to forskjellige innfallsvinkler. Noen innledere kommer til å fokusere på hvordan konkrete politiske, økonomiske, kulturelle, etniske eller andre grenser fremstilles gjennom filmmediet. Andre kommer til belyse hvordan grensekonseptet kan anvendes som et analytisk redskap for å få frem nye tolkninger av og tilnærminger til film.
Som sist blir hver visning innledet av forskere med en interesse for grensenes estetikk, kultur og politikk. Etter visningene blir det tid til spørsmål, kommentarer, kritikk og debatt. Vi håper på stor deltagelse og gleder oss til interessante tilbakemeldinger og inspirerende nye tanker.
Filmgrenser 2 blir arrangert i regi av Grenseestetikk prosjektet ved Universitetet i Tromsø (Institutt for Kultur og Litteratur). Vi takker Norsk Forskningsråd (KULVER), Fritt Ord og Institutt for Kultur og Litteratur for å finansiere visningene. Ansatte og studenter ved Universitetet i Tromsø får gratis adgang til alle visningene innen Filmgrenser 2 serien. Husk ansatt eller studentbevis. Velkommen!
After the success of the first Filmborders series autumn 2010 we now embark on a new endeavor. Filmborders 2 approaches the border concept from two distinct vantage points. Some presenters will direct attention to the ways through which political, economic, cultural, ethnic, and other borders are represented and negotiated in and through film, while other will focus on the border as an analytical tool that enables new interpretations and approaches to film.
As always each screening will be introduced by a researcher interested in the border aesthetics, border politics, and/or border culture. After each screening there will be time for questions, comments, critique, and debate. We hope for a great attendance and look forward to interesting feedback and inspiring new thoughts.
Filmborder 2 is organized by the Border Aesthetics project coordinated at the Dept. for Culture and Literature at Tromsø University. We are grateful to the Norwegian Research Council’s KULVER programme, the Fritt Ord Foundation, and the Dept. for Culture and Literature for funding the series. Employees and students at Tromsø University have free admission to all Filmborders 2 screenings. Remember to bring your employee and student cards. Welcome!