Extract
[...] In conclusion, The Possibilities of Dialogue offer a glimpse of different social interactions illustrated by numerous metaphorical and metamorphic processes. The evolution of the characters within each part, their transformations give us access to a subversive interpretation of romantic relationships, education, or productivity. The surrealist imprint dear to the creator is well present here with a fundamental social critique and a blatant metaphorical political undertone. It is interesting to note that what we have analyzed here are not the only elements leading us to this conclusion. [...]
[...] A final upheaval only allows to accelerate the decadence of a process that, at first, seemed to work correctly. In this last part, we can see a critique of societal upheavals and the pursuit of productivity at all costs, to the point of going against logic, understanding between individuals, and the well-being of each person. By wanting to go fast, the heads do less well and exhaust themselves without having the possibility of questioning themselves. The system seemed to work better before, but once launched, nothing can stop them. [...]
[...] Initially, the artist approaches the mannerist movement more closely by creating a dynamic relationship between structure and disorder, but over time he develops new methods of expression, particularly in The Possibilities of Dialogue, where one can appreciate all his skills in handling objects and his methods of tactilism. These connect him directly to the surrealist movement. He uses many techniques to make the animation richer, leaving no respite for the spectators who can only leave his short films asking questions about himself and his own feelings. The tension of mannerism and its provocative character agree perfectly with the subversive nature of surrealism. Many links between these two artistic currents are to be noted, especially in the films of Svankmajer. [...]
[...] The person no longer exists outside of the loving relationship. The fact that the screenwriter did not try to remove the traces of modeling from the people reinforces this impression of brutal fusion, almost imposed by the imperious desire of passion. The scene represents a beginning romantic relationship, particularly through the appearance of subjective scenes, hands on knees, faces against each other . then the tension changes, it's no longer romantic, it's almost violent, we see one of the characters struggling, trying to get out. [...]
[...] The Possibilities of Dialogue - Jan Svankmajer (1982) - To what extent do the metamorphoses seem to express the reflection of an alienating reality? « The Possibilities of Dialogue » This is a 12-minute short film that won the Grand Prix at the Annecy animation festival in 1983, for its screenwriter, Jan Svankmajer. Released in 1982, this work deals with communication between humans and, more specifically, the difficulties that can arise from dialogue. Here, we will rather speak of an exchange, since everything passes through the non-verbal. [...]
