Manifesto (2015): A Modern Love Letter to Art
Written and Directed by Julian Rosefeldt.
“We must create, that is a sign of our times…” (Manifesto no. 4)
“ Nothing is original, so you can steal from anywhere that resonates with inspiration and fuels your imagination.” (Manifesto no. 13)
I feel it would be pointless to do a run of the mill review of this film seeing it as it is a collection of the words of some of our most acclaimed artists and thinkers. Instead, I would like to voice my opinions on the importance this film has in the world of modern art and its implications. As per usual these are just my opinions, I feel that it’s sad that this film did not get more attention. It is a critically important work. It has been awhile since anyone has really questioned the status of art, let alone the art of film, in such a blunt and confrontational way. We know that these artists have these feelings about their mediums, but having them stated to you through the medium of film (its own art) itself makes their words have a whole other kind of deeper impact. I think everyone should see this film in all honestly. Art is so engrained within our modern society, it is almost a challenge not to form an opinion. Good filmmaking makes you question, it makes you think. It can attack your senses, making you question the status of your own thoughts on the medium(s). Maybe it could even leave you with a new or better defined personal opinion on that matter. It dares you to ask, what is your own personal manifesto?
Another aspect that I loved about the film is that it doesn’t try to change your opinion, there is no dogma, no biased ideological goal. Viewed as separate parts, one could more easily make the argument for an ideology, but all thirteen of these works edited and organized together bring about a new, fresh, kind of message. However, it is constantly asking you to think and revaluate your own thoughts, it encourages an incredibly deep level of personal introspection. It’s goal, stated plainly, is to make viewers think about art and its role in society.
The film works completely as a whole, and it also works as stand alone parts. Cate Blanchett’s performance is truly amazing, she transforms into completely different characters for each one of the manifestos. She embodies the soul of the words and actions. You may agree with some, disagree with others, or hotly contest them all (you rebel), but every single word is stimulating. I think every few years we need a film like this to reassess our stances on art and its place in society. I feel like it’s been a long time since we’ve had those questions presented to us on such a grand scale. The thirteen separate parts are edited and intermingle with one another, creating an effective arc within the film. It’s interesting to see a film with essentially no plot, each section has its own few characters, and its own story (I’m using this term loosely), and most importantly of course, its own manifesto.
Each manifesto reflects the combination of artists, directors, and thinker’s personalities. The scenes and situations themselves are inspired by the origins of the manifestos, the segments place the artist’s words in a modern social context so we can see physicalities and visuals applied to each. If you are well versed (as I’m sure my readers are) you can tell who wrote what in each of the film’s parts. The manifestos in the film are as follows: Situationism, Futurism, Architecture, Abstract, Expressionism, Creationism, Constructivism, Dadism, Surrealism, Pop Art, Fluxus (or performance art), Minimalism, and finally Film. The authors include, but of course are not limited to Rodchenko, Debord, Vertov, Barnett Newman, Louis Aaragon, Yvonne Rainer, Werner Herzog, and Jim Jarmusch. The words of Marx and Engels served as the prologue.
I want to say that I love components of all of the manifestos, but I do have my three favorite, those that spoke to me most deeply. The Creationist section (tattooed punk), Abstract Expressionism (the CEO at the dinner party), and finally the last section, Film (the teacher) were my top three. Minimalism (the reporter) and Surrealism (the puppeteer) were also favorites of mine. I was drawn to and enjoyed the radical nature of the tattooed punk, while I do not agree with everything she says, I feel it very deeply. It was one of the more confrontational sections in the film, it felt like the ultimate wake up call. It shook me and really made me question my own personal nostalgia complex. As a lover of Abstract Expressionism I was drawn to the emphasis on the human conscious and the need to embrace the primal aspects of artist creation. This idea, for me, is a core component of Abstract Expressionism. Naturally, as a filmmaker (and self confessed obsessive cinephile), I latched onto the words of Herzog and Jarmusch in the final section. The Dogme 95 movement, truth in film, and the idea of originality are all fleshed out and blended together into a poem for modern cinematic creation. It reaffirms the stance that filmmaking is never just one type of movement or practice, it is a combination, grown over it’s many decades.
There are some interesting artistic implications that come with the release of the film. As I mentioned previously, the conversion of an art installation into a feature length film is both innovative and fascinating. It may not seem like such a stretch now, but we have seen it happen now. The medium is pliable, resilient, and (as this film proves), it’s in touch with the modern artist conscious. So what does all this mean? Well, I think it means we should be excited about the future of art, not hesitant, or afraid of change. Art will always be art, at its core and in its soul. So just maybe we don’t have so much to fear.
The original art installation lasted from 28 May 2016 to 19 Feb 2017, and it was held in the Australian Centre for the Moving Image. An art installation turned into a feature film, a true testament to modern advances. Not only is it a beautiful film, but it’s conversion proves, and has so much to say about, the fluidity of the modern art film.
I called this article a Modern Love Letter to Art because in a way it is both a celebration and a destruction of art. It celebrates it, with all of its shapes and forms, then it destroys it by birthing it anew through those same thoughts and opinions. It liberates it by fleshing out all of the questions the manifestos ask. I feel there was great love behind this film, because only someone who truly cares about something will challenge it, this is how growth occurs. If we continue to challenge and question art it will only strengthen it. Complacency and sameness are the true breeders of destruction.
Manifesto is available on Amazon Prime per(8/18/2018).
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