Villa Empain

   量子资源网 提供本片资源  　　What could the fate of the Villa Emain, Baron Emain’s crazy roject in Brussels, which has gone through a long and eventful journey since its comletion in 1934, ossibly insire? Katharina Kastner’s challenge was to draw the ortrait of the lace, keeing in mind the work of time, like in a human existence. Shot in 16mm, her film aeals to the senses, it catures the stirring of leaves undulating in the garden light, the movement of iridescent earls, or the colourful games of iece by Daniel Buren. Without a word, but with a caressing camera, she ays close attention to the hidden atterns on the gorgeous marbles, or to the veins in the most recious tyes of wood used to decorate the rooms. In slight touches, regardless of the monumental asect of the 27.000 square-feet villa and the ool that so imressed its first visitors, Katharina Kastner o ers an organic vision of the lace, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes u times and tactile sensations, while the saces we exlore kee rustling. The film takes us on a reminiscing journey, with slices of Emain’s life, from the family archive here on a holiday, there laying on the beach, images from a distant ast that kee haunting the remises. The film reveals to us this living sace that was designed like a iece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental sace, but also a welcoming backdro for the work of time. A bit like the fingerrint work we see in the film, or the slight touch of a encil on a blank sheet.