Had Lewis Carroll switched from jotting down his visions to carving them in stone, his works might have looked a lot like Antonio Gaudí’s. Both artists shared what Eric Rohmer once described (in a Cahiers du Cinéma review of a Frank Tashlin movie) as “a rebellion against the straight line,” a quality amply displayed in Antonio Gaudí, Hiroshi Teshigahara’s meditative document about the great Spanish architect. As Teshigahara’s camera travels through the streets of Barcelona, the majesty and sheer strangeness of Gaudí’s 19th-century combination of Art Nouveau arabesques and organic contours take over. The tour is centered on detailed views of the Casa Battlo and the Casa Mila la Pedrera, where ornate designs seem to alternately belong in a Kubrick film and in the Land of Oz, and on the Casa Vicens and Casa Guell, where medieval sumptuousness is skewed by twisty columns and undulating rooftops. Ditching talking heads in favor of Toru Takemitsu’s spellbinding score, Teshigahara cultivates an immersive tone, encouraging the viewer to float hypnotically from one architectural wonder to the next, from grisly murals to staircases that resemble a caterpillar’s segmented body. The contrasting blends in Gaudí’s work (the ancient and the modern, the natural and the man-made) are reflected in shots of frosted glass on antique formations, and also of rocky hills that look like rugged visages. Visually ravishing and rhythmic, Antonio Gaudí feels like a well-made but impersonal travelogue until one recalls the Japanese filmmaker’s own use of nature’s unruly shapes in his classic Woman in the Dunes. Teshigahara’s refusal to provide extensive biographical or historical context to Gaudí’s structures won’t be of much help to art students cramming for a test, yet he understands how, when dealing with the maker of the monumental, unfinished Sagrada Familia church, an artist’s life and times can be best summarized by letting the works speak for themselves.
- Kino International
- 72 min
- Hiroshi Teshigahara
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