Details about “The Girl and the Spider” directed by Ramon and Silvan Zorscher / Satan

Theater News Base: After “Strange Little Cat”, Ramon Zorscher and his brother Silvan went to the film “Girl and Spider”, which was screened at the Berlin Film Festival. In The Strange Little Cat, the Zorscher brothers limited the everyday story to a space as a chain reaction of actions. In The Girl and the Spider, the architecture of the narrative and the rooms is even more extensive and complex.

Also, the forces of desire, gravity and repulsion show themselves more comprehensively and violently. This time, the spider has taken the place of the cat, and it can be said that the narrator of this film is a spider, and the way the film is narrated is like the spinning of spider webs. The film begins with a drill that falls into the street asphalt. Something that causes vibration. The spider only responds to vibrations, signals and signs. This mention is enough to pay more attention to this connection. The narrator is a spider. The spider mania in the movie is floating, interested in nothing but small signs that happen in the background. This connects us to Deleuze’s encounter with the narrator of the novel In Search of Lost Time. The narrator and the video camera, like the vision of a spider, take us to the nebula-massive masses of dust and gases of helium and hydrogen and plasma that are the birthplace of stars.

The characters that come and go are indistinguishable masses so that at least one star of the characters is born from the heart of these nebulae. The slightest signal forces the narrator to jump in the right place and jump on his prey. Mara soon emerges as a powerful character from the apartment nebula. Our character is similar to Charles in search of lost time. In Charles’s first appearance, his gaze and eyes were described as those of a spy, thief, salesman, cop, or lunatic. Something that we can follow in our vague and mysterious look.

Just as Deleuze sees Charles as a sign of a flashing mass and a large box of light and sound, so do we, with those penetrating eyes that engage in searching gestures, sometimes have intense activity and are sometimes in a state of indifference and numbness, like Charles’s sign. The flashing or sound and light box is “girl and spider”. Everyone who listens to him or falls in love with him, finds himself in front of a secret that he must discover.

Thus, the presence of the spider, which we see clearly in three scenes, is present here in the narrative itself and becomes a camera that reacts to the signs at every moment and turns its face towards the prey of certain signs every time. As Luigi Pirandello likens the camera to a gigantic, ambushing spider in The Notes of Sarafino Gobbio, the Cinematographer, which sucks in the vivid and tangible reality of the characters, making it a clear, instantaneous contrast. Make people amazed. In this film, it goes beyond similes and the spider, as the narrator, merges with the camera to mount both its narrative structure and its biological features on the story and characters.

Narrative drawings such as spider webs gradually expand to eventually create a cohesive space of feelings and emotions, perceptions and echoes. There is constant movement between the bodies in the narrow spaces between the rooms of the two apartments and the corridors. Waltzes are bodies that face each other or move away from each other, revealing a force field of inclinations in their masses.

The film moves on a boundary that explores the mechanisms of separation and loneliness. Lisa leaves Mara’s apartment to live alone. This is Lisa leaving, but we follow her through our emotions. In “The Girl and the Spider”, as in the previous film The Zorscher Brothers, it is important to understand the moments and situations of the characters, and life resonates with these forces. The desire here, like in Chekhov’s plays, is constantly flowing, because in the end almost all the characters in the film like to get along with each other. Violent brothers do not focus on actions, but on the psychological processes that motivate them. The opening scenes of “Girl and Spider” are a breathtaking dance of sounds, dialogues, glances, beams of light, continuous ascents and descents. No one is alone in this hustle and bustle for more than a moment, and no conversation is left alone for long. Dreams, memories, and stories shake the linearity and objective validity of events, the causes of the injuries previously mentioned in the corridors being told moments later. One detail after another is imposed on the image to get a scary effect of space, objects and forces between the characters. “The devil is in the details” and this leads us to the moment of storm and rain so that the inner layer of fear that emanates from looks, relationships and objects appears to us like a horror movie. The storm that opens the windows, the owl that stares at the camera like the characters, and the old neighbor who dances on the roof in his pajamas in the awe of a witch. The Zorscher brothers promised these mysterious horror scenes in the opening scene of the print and PDF file. Disruption of the system is not a coincidence but a principle. Nothing is immutable in this movie, not even the PDF file. The file that has the plan of Lisa’s new apartment and at first by a force may demonize everything but the file returns to the original state. But at the same time, the print of the apartment design by the little girl, us and even the objects is constantly changing and becoming something new. The empty spaces are filled with paintings and paint, and the drink stains are wrinkled. What was reproducing this force at home has been consciously and unconsciously transferred to paper, as are all the senses, perceptions, bodies, objects, dreams, wounds, and most importantly, the rods that are constantly moving and moving. “Girl and Spider” talks about anxiety, separation, travel, vacancies, past stories, and homes that are nothing more than yellow and white walls. We find knots of desire, despair, disgust, ambition, and apathy, each of which has emerged through small details, changing perspectives, moving between spaces, and touching objects. Everything is a regular apparent explosion, as if the storm that opened the windows has now entered the house and overshadowed the space with the onslaught of audio and video signals. The film often focuses on wounds – emotional and physical. At the beginning of the film, we see a herpes on our face that Lisa’s mother notices, but the herpes is transmitted to Lisa with a simple kiss. A rapid transition occurs here, reminding us that the body is a tornado of eruptions and reactions that are immediately affected. Like Lisa’s blue hat, things and even people who hold hands constantly transmit these signs. The camera of the Zorscher brothers often stands and stares at the signs of pain; A bloody wound bandage, a scratch on the table, a dead fly, a drink dripping on the floor. These scenes add more mystery to a film of hidden gazes, broken phrases and unspoken sayings. Like things that are constantly broken and repaired in the film, disassembled and rebuilt, narrative is a continuous process of assembly and disassembly. Spatial expansion is also created by the production of noise; Produce a masterful sound from successive or simultaneous ringing of bells, the sound of a builder, the barking of a dog, and the sound of objects such as a flask that constantly squeaks. In addition, short memories and dreams enter the narrative and temporarily stop the plot. Everything is on the verge of disintegration, accompanied by a morbid pleasure in disorder and destruction on the somewhat compulsive symbolic level of the film, and yet there are always “transitions” to dreams and fantasies as escape dreams. These moments, which are on the verge of disorder and collapse, are brought together by the same cobweb sensitive to the story to tell the story, so that this time the beast of burden in the role of the narrator of this diagram of desire will be drawn for us.

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