“Images are Moving Away From the Eye”: Dane Komljen on Afterwater
The opening minutes of Afterwater, Dane Komljen’s second feature, might fool viewers into thinking they know what they’re in for. At a university, a young man sketches varieties of fishes preserved in jars of glass. A young woman attends class in a lab with microscopes on every table. They don’t speak, their expressions remain impassive. We observe them in static and meticulous compositions, as if they themselves were specimens. When a character reads from a book about limnology, i.e. the study of lakes, and the word “microcosm” cues a shot of Berlin’s central train station bustling with commuters, the cut […]
by Giovanni Marchini Camia on Feb 14, 2022
