A new short film by Alfred Eaker and James Mannan
Director’s statement:
La lontananza nostalgica utopica futura (trans: Nostalgia for a Distant Future Utopia) takes its title from a work by Italian avant garde composer Luigi Nono. This film was made while Alfred Eaker was a student at the John Herron School of Art. Al invited me to co-direct this short piece from his screenplay. Subsequent editorial embellishments were supplied by J. Ross Eaker, who also served as cinematographer. The story of Paul and Vincent’s combative relationship is well worn cinematic territory, the usual focus being on Vincent’s impulsive, self destructive behavior. Our decision was to examine their aesthetic and spiritual struggles, with a focus on Paul’s equally self destructive ego and immorality. Much of the dialogue is taken directly from their personal correspondence. Historicity and realism are eschewed and the approach is impressionistic; Brechtian if you will. This was a budgetary move to be certain, but allowed the text and themes domination over the mis-en-scene. What results is an examination of the art and essence of two flawed men whose influence dominated the following century and beyond. An aphorism used by Nono speaks to our intentions: Caminantes, no hay caminos, hay que caminar (Travellers, there are no roads, there is just traveling.) –James Mannan
Art critic Waldemar Januszczak attempts to set the record straight. “What’s to like about this man?,” Januszczak asks. “First of all, there is the art, which needs no defense. Gauguin painted some of the world’s most alluring woman and put them into several of the world’s most gorgeous pictures, but what I really like about him is that he did it for big and noble reasons.” And then, most aptly, he says, “There is always more to a Gauguin than meets the eye.” Januszczak covers