Manifesto (2015 film)

Last updated

Manifesto
Manifesto Poster.jpg
Theatrical release poster
Directed by Julian Rosefeldt
Written byJulian Rosefeldt
Produced byJulian Rosefeldt
Starring Cate Blanchett
Cinematography Christoph Krauss
Edited byBobby Good [1]
Production
company
Release dates
  • 9 December 2015 (2015-12-09)(ACMI)
  • 10 February 2016 (2016-02-10)(Berlin)
  • 23 January 2017 (2017-01-23)(Sundance)
Running time
  • 130 minutes (exhibition) [2]
  • 94 minutes (feature)
Countries
  • Australia
  • Germany
LanguageEnglish

Manifesto is a 2015 multi-screen film installation written, produced and directed by Julian Rosefeldt. It features Cate Blanchett in 13 different roles performing various manifestos. The film was shot over 12 days in December 2014, in locations in and around Berlin. It premiered and screened at the Australian Centre for the Moving Image from 9 December 2015 to 14 March 2016. A 94-minute feature version premiered at the Sundance Film Festival in January 2017.

Contents

Plot

The film integrates various types of artist manifestos from different time periods with contemporary scenarios. Manifestos are depicted by 13 different characters, among them a school teacher, factory worker, choreographer, punk, newsreader, scientist, puppeteer, widow, and homeless man.

The film consists of 13 segments, each 10:30 minutes long. In each, a character recites parts of manifestos of various political and artistic movements.

No.CharacterManifestos
1. PrologueBurning fuse

Karl Marx / Friedrich Engels, Manifesto of the Communist Party (1848)
Tristan Tzara, Dada Manifesto 1918 [3] (1918)
Philippe Soupault, Literature and the Rest (1920)

2. Situationism Homeless man

Lucio Fontana, White Manifesto (1946)
John Reed Club of New York, Draft Manifesto (1932)
Constant Nieuwenhuys, Manifesto (1948)
Alexander Rodchenko, Manifesto of Suprematists and Non-Objective Painters (1919)
Guy Debord, Situationist Manifesto (1960)

3. Futurism Broker

Filippo Tommaso Marinetti, The Foundation and Manifesto of Futurism (1909)
Giacomo Balla / Umberto Boccioni / Carlo Carrà / Luigi Russolo / Gino Severini, Manifesto of the Futurist Painters (1910)
Guillaume Apollinaire, The Futurist Antitradition (1913)
Dziga Vertov, WE: Variant of a Manifesto (1922)

4. Stridentism / Creationism Tattooed punk

Manuel Maples Arce, A Strident Prescription (1921)
Vicente Huidobro, We Must Create (1922)
Naum Gabo / Antoine Pevsner, The Realist Manifesto (1920)

5. Vorticism / Blue Rider / Abstract Expressionism CEO at a private party

Wassily Kandinsky / Franz Marc, "Preface to the Blue Rider Almanac" (1912)
Barnett Newman, The Sublime is Now (1948)
Wyndham Lewis, Manifesto (1914)

6. Dadaism Funeral speaker

Tristan Tzara, Dada Manifesto 1918 (1918)
Tristan Tzara, Manifesto of Monsieur Aa the Antiphilosopher (1920)
Francis Picabia, Dada Cannibalistic Manifesto (1920)
Georges Ribemont-Dessaignes, The Pleasures of Dada (1920)
Georges Ribemont-Dessaignes, To the Public (1920)
Paul Éluard, Five Ways to Dada Shortage or two Words of Explanation (1920)
Louis Aragon, Dada Manifesto (1920)
Richard Huelsenbeck, First German Dada Manifesto (1918)

7. Fluxus / Merz / Performance Choreographer

Yvonne Rainer, No Manifesto (1965)
Emmett Williams, Philip Corner, John Cage, Dick Higgins, Allen Bukoff, Larry Miller, Eric Andersen, Tomas Schmit, Ben Vautier (1963–1978), George Maciunas, Fluxus Manifesto (1963)
Mierle Laderman Ukeles, Maintenance Art Manifesto (1969)
Kurt Schwitters, The Merz Stage (1919)

8. Surrealism / Spatialism Puppeteer

André Breton, Manifesto of Surrealism (1924)
André Breton, Second Manifesto of Surrealism (1929)
Lucio Fontana, White Manifesto (1946)

9. Architecture Worker in a garbage incineration plant

Bruno Taut, Down with Seriousism! (1920)
Bruno Taut, Daybreak (1921)
Antonio Sant'Elia, Manifesto of Futurist Architecture (1914)
Coop Himmelb(l)au, Architecture Must Blaze (1980)
Robert Venturi, Non-Straightforward Architecture: A Gentle Manifesto (1966)

10. Suprematism / Constructivism Scientist

Naum Gabo / Antoine Pevsner, The Realistic Manifesto (1920)
Kazimir Malevich, Suprematist Manifesto (1916)
Olga Rozanova, Cubism, Futurism, Suprematism (1917)
Alexander Rodchenko, Manifesto of Suprematists and Non-Objective Painters (1919)

11. Pop Art Conservative mother with family
(Andrew Upton and their children, Dashiell, Roman, and Ignatius)		 Claes Oldenburg, I am for an Art... (1961)
12. Conceptual Art / Minimalism Newsreader and reporter

Sol LeWitt, Paragraphs on Conceptual Art (1967)
Sol LeWitt, Sentences on Conceptual Art (1969)
Sturtevant, Shifting Mental Structures (1999)
Sturtevant, Man is Double Man is Copy Man is Clone (2004)
Adrian Piper, Idea, Form, Context (1969)

13. Film / EpilogueTeacher

Stan Brakhage, Metaphors on Vision (1963)
Jim Jarmusch, Golden Rules of Filmmaking (2002)
Lars von Trier / Thomas Vinterberg, Dogme 95 (1995)
Werner Herzog, Minnesota Declaration (1999)
Lebbeus Woods, Manifesto (1993) – Epilogue

Production

Development

Rosefeldt began developing the project through research and analyses of an assortment of textual manifestos, starting from Karl Marx and Friedrich Engels's 1848 The Communist Manifesto and Filippo Tommaso Marinetti's 1909 The Founding and Manifesto of Futurism , the latter his first selection, to film director Jim Jarmusch's "Golden Rules of Filmmaking" (2004), the most modern text referenced. [4] Rosefeldt selected approximately 60 manifestos which he "found to be the most fascinating, and also the most requitable", or chose "because they suited one another". [4] After collating and fragmenting numerous texts, eventually 12 manifesto collages materialized. [4]

Rosefeldt said that the main concept for the project was to have a woman embody the manifestos. [4] He wanted to "make a piece in which a woman performed multiple roles" in an art-based framework. [5]

In parallel, I began to sketch different scenes in which a woman talks, ending up with sixty short scenes, situations right across various educational levels and professional milieus. The only thing these draft scenes had in common was that they are being performed today, and that a woman is holding a monologue ... Sometimes we listen to the woman's inner voice; in other instances she addresses an audience; once she even interviews herself, etc. I finally edited everything down to twelve scenes and twelve corresponding text collages. [4]

Rosefeldt and Blanchett had met a few years prior in Berlin, through Thomas Ostermeier, who had collaborated with Rosefeldt in theater. Rosefeldt had discussed with Blanchett her role as Bob Dylan in Todd Haynes' I'm Not There , which influenced the conception of the project. [5] The two met several times to brainstorm and developed the project together. [6]

Rosefeldt described the process of scripting as "very organic"; "I started to play with the texts and to edit, combine and rearrange them into new texts that could be spoken and performed...They are complementing each other in a playful way." [4] He was attracted to the idea of alluding to "a collection of voices, a conversation...[rearranging] these multiple voices into new monologues: again, turning these texts onto themselves." [4] The project "questions the role of the artist in society today", drawing on "the writings of Futurists, Dadaists, Fluxus artists, Situationists and Dogme 95, and the musings of individual artists, architects, dancers and filmmakers." [7] Rosefeldt deems it an "homage to the beauty of artists' manifestos − a manifesto of manifestos". [4] He titled it Manifesto as "the focus in this work is above all on texts, whether by visual artists, filmmakers, writers, performers or architects – and on the poetry of these texts." [4]

The project was commissioned by the Australian Centre for the Moving Image, in partnership with Art Gallery of New South Wales, Museum für Gegenwart, Sprengel Museum, and Ruhrtriennale Festival of the Arts. [7] [8] The film was subsidised by the Medienboard Berlin-Brandenburg with €90,000. [9] It is a coproduction of the Ruhrtriennale, Schiwago Film GmbH, and the Berlin National Gallery, in cooperation with Bayerischer Rundfunk, the Burger Collection Hong Kong, and the Medienboard Berlin-Brandenburg. [10] [11] [12]

Filming

Production on the film began in December 2014, lasting 12 days. [13] [14] The conditions under which the crew and actress worked in the Berlin winter, including the very tight time frame, allowed little room for improvisation. The crew had to "plan the shoot meticulously" as sometimes they had to shoot two roles per day. [4] Filming locations in Berlin included the Friedrichstadt-Palast, Helmholtz-Zentrum Berlin, Teufelsberg, Humboldt University of Berlin, and Technical University of Berlin; in surrounding Brandenburg, filming was located in Rüdersdorf, Brandenburg University of Technology, and the Stahnsdorf South-Western Cemetery. [1] A total 130 minutes of footage was shot. [15] Rosefeldt framed Manifesto as "a series of episodes that can be seen separately but that can also be seen together in their entirety, as a choir of difference voices." [4]

Cinematographer Christoph Krauss used the Alexa XT Plus digital camera as his A-camera. Visual effects (VFX) shots were captured in ArriRaw format. Non-VFX sequences shot with the Alexa XT Plus and the Alexa Plus B-camera were recorded in ProRes 4444. Krauss used an additional Phantom Flex camera for two high-speed shots. Krauss said he chose Cooke S4 lenses for the shoot because he likes the "slightly softer skin tones they produce". Cooke S4 lenses were combined with two Angenieux Optimo Zooms, which were used for "longer focal lengths and flexible second unit shots". Krauss aimed for a natural look. "As in almost all of Julian's works, there is enough abstraction through either deceleration in long takes and slow motion, or unnatural perspectives like high top-shots," Krauss said. [15]

Release

The first images of the film were released in April 2015. [16] Manifesto had its world premiere and was exhibited at the Australian Centre for the Moving Image from 9 December 2015 to 14 March 2016. [17] The installation was shown in Berlin at the Museum für Gegenwart from 10 February to 6 November 2016, [18] [10] and at the Sprengel Museum in Hanover from 5 June 2016 to 29 January 2017. [19] The Art Gallery of New South Wales in Sydney exhibited it from 28 May to 13 November 2016. [5] The first showing in North America was in December 2016/January 2017 at the Park Avenue Armory in New York City. [20] [21] The installation was also shown in Canada at the Musée d'art contemporain de Montréal from 20 November 2018 to 20 January 2019. [22]

A 94-minute linear version of the film had its world premiere at the 2017 Sundance Film Festival on 23 January 2017. [23] [24] [25] Shortly after, FilmRise acquired US distribution rights, which was released in the US on 10 May 2017. [26] [27] It premiered on Bayerischer Rundfunk channel in 2018. [15] [11] In 2019, the film was displayed on 13 screens in the Washington D.C.'s Hirshhorn Museum and Sculpture Garden, where it was part of a larger exhibition entitled "Manifesto:Art X Agency". [28]

Reception

On review aggregator website Rotten Tomatoes, 75% of 85 critics reviewed the film positively with an average rating of 6.6/10. The website's critics consensus reads, "Laugh-out-loud humor and Cate Blanchett's tour de force performance(s) make Manifesto worth watching, even if the subject matter is too esoteric for all but a few." [29] On Metacritic, the film holds a weighted average score of 72 out of 100, based on 21 critics. [30]

Dan Rule of The Sydney Morning Herald said, "The work, and Blanchett's role in it, is a remarkable exploration of cultural and cinematic tropes and expectations, as well as the jarring, dislocating effect of context on content." Blanchett assuming the various roles while "delivering artist manifestos ... spanning Fluxus, Futurism, Dada and more in the process – as if natural dialogue ... is both a confirmation of Blanchett's sheer presence and acumen as an actor and Rosefeldt's shrewdness and intellect as an artist. Manifesto is worth every minute", Rule wrote. [31] Jane Howard of The Daily Review said that Rosefeldt "plays with the tension of bringing distinct thinking together". "Walking into the space", Howard observed, "the screens at first seem to invite solo viewing, time best spent with [characters Blanchett embodies]. But as you enter deeper into the room, the arrangement of the screens shifts and Manifesto increasingly leans into the sound-bleed and an unspoken stand-off between characters ... But always, Rosefelt gives us moments of quiet away from the manifestos". Howard noted that Manifesto also becomes about Blanchett's adeptness as a performer, her performances "traversing class, country and gender". The installation "quite rightly sits as the hero of this exhibition: a mess of words, worlds, contradictions, and synchronicity. Giving yourself over to it, it can do nothing less than overwhelm." [32]

Siobhan Calafiore of The Weekly Review deemed walking into Manifesto "like entering a strange world where you are both lost and found ... The viewer feels as though they have stumbled into each scenario as an unnoticed bystander, thanks to the movement of the camera and surrounding sound." The settings are "oddly familiar, whether it's a situation you recognise or have experienced before, or one you've seen in film." Calafiorie said there is "a beautiful unity" between the scenes, but "one of the most transfixing aspects" is Blanchett's "convincing transformation into completely different characters." Each context "explores a different idea from art and originality to the subconscious and society. Yet each one resonates and moves the viewer in a surprising way." [33] Toby Fehily of The Guardian gave the installation four out of five stars, praising Blanchett's "convincing, almost effortless performances" which overcome the decontextualized manifestos. "But what matters in Manifesto isn't what is said but the way it's said", Fehily considered; "Rosefeldt has found a way to shrinkwrap the ambitious spirit and poetry of these texts into humble everyday actions." [34]

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References

  1. 1 2 "Manifesto – Further information". julianrosefeldt.com. Retrieved 11 February 2018.
  2. ↑ Scherpe, Mary (6 April 2016). "Art in Berlin: Julian Rosefeldt's Manifesto". Still in Berlin. Retrieved 6 April 2016.
  3. ↑ Dada Manifesto by Tristan Tzara, 23 March 1918, via 391 archive
  4. 1 2 3 4 5 6 7 8 9 10 11 "Julian Rosefeldt Interview". Australian Centre for the Moving Image. 20 November 2015. Retrieved 21 November 2015.
  5. 1 2 3 Bunbury, Stephanie (13 November 2015). "Cate Blanchett as you've never seen her before". The Sydney Morning Herald . Retrieved 21 November 2015.
  6. ↑ "Julian Rosefeldt's modern-day artist's Manifesto". Deutsche Welle. 22 February 2016. Retrieved 7 March 2016.
  7. 1 2 "Julian Rosefeldt: Manifesto". Australian Centre for the Moving Image. Archived from the original on 3 March 2016. Retrieved 21 November 2015.
  8. ↑ "Julian Rosefeldt: Manifesto". Julian Rosefeldt. Retrieved 17 February 2016.
  9. ↑ "Förderentscheidungen 4. Quartal: Okt. bis Dez. 2013" [Funding Decisions Q4: Oct. to Dec. 2013] (in German). Medienboard Berlin-Brandenburg. Archived from the original on 2 April 2015. Retrieved 28 December 2014.
  10. 1 2 "Julian Rosefeldt. Manifesto". Berlin.de. Retrieved 15 February 2016.
  11. 1 2 "BR-Kunstprojekt mit Cate Blanchett: Manifesto von Julian Rosefeldt" [BR-art project with Cate Blanchett: Manifesto of Julian Rosenfeldt]. Bayerischer Rundfunk. 16 February 2016. Retrieved 17 February 2016.
  12. ↑ "Ruhrtriennale 2016 zeigt Filminstallation "Manifesto" von Julian Rosefeldt mit Cate Blanchett" [Ruhrtriennale 2016 shows film installation Manifesto by Julian Rosenfeldt with Cate Blanchett] (in German). Informationsdienst Ruhr. 9 December 2015. Retrieved 17 February 2016.
  13. ↑ "Videokunstprojekt mit Cate Blanchett" [Video art project with Cate Blanchett] (in German). Bayerischer Rundfunk. 22 December 2014. Archived from the original on 3 July 2015. Retrieved 21 November 2015.
  14. ↑ Cooke, Dewi (8 December 2015). "Cate Blanchett performs as 12 characters in Julian Rosefeldt's Manifesto at ACMI". The Sydney Morning Herald . Retrieved 15 February 2016.
  15. 1 2 3 Bugler, Pauline. "Alexa on Manifesto video installation". Arri . Retrieved 15 February 2016.
  16. ↑ "Viermal Cate Blanchett: Am Donnerstag erscheint..." Monopol Magazine via Facebook. 21 April 2015. Retrieved 21 November 2015.
  17. ↑ "ACMI presents Julian Rosefeldt: Manifesto". Australian Centre for the Moving Image. Archived from the original on July 18, 2016. Retrieved November 21, 2015.
  18. ↑ "Detail – Julian Rosefeldt: Manifesto – Staatliche Museen zu Berlin" . Retrieved 10 October 2016.
  19. ↑ "05. Juni 2016 – 29. January 2017". Sprengel Museum. Archived from the original on 28 April 2018. Retrieved 23 June 2016.
  20. ↑ Event details, Park Avenue Armory, New York City
  21. ↑ "Manifesto : Program & Events". Park Avenue Armory.
  22. ↑ "Manifesto : Julian Rosefeldt". MAC Montreal.
  23. ↑ "Manifesto". Sundance Film Festival . Archived from the original on 18 August 2018. Retrieved 10 February 2017.
  24. ↑ Sharf, Zack (6 December 2016). "Manifesto First Look: Cate Blanchett Channels Lars von Trier and Jim Jarmusch in Sundance Premiere". IndieWire . Retrieved 6 December 2016.
  25. ↑ Patten, Dominic (5 December 2016). "Sundance 2017: Robert Redford, New Rashida Jones Netflix Series, 'Rebel In The Rye' & More On Premiere, Docu, Midnight & Kids Slates". Deadline Hollywood . Retrieved 5 December 2016.
  26. ↑ Sanderson, Katherine (10 February 2017). "Berlin: Cate Blanchett's 'Manifesto' Lands at FilmRise". The Hollywood Reporter . Retrieved 10 February 2017.
  27. ↑ "Manifesto". Variety . Retrieved 9 March 2017.
  28. ↑ Smith, Ryan (26 July 2019). "Cate Blanchett Dons 13 Guises in This Daring Art Installation". Smithsonian.com. Retrieved 26 July 2019.
  29. ↑ "Manifesto". Rotten Tomatoes . Fandango Media . Retrieved 2 December 2023.
  30. ↑ "Manifesto". Metacritic . Fandom, Inc. Retrieved 2 December 2023.
  31. ↑ Rule, Dan (12 February 2016). "Art: Melbourne gallery shows include Andy Warhol/Ai Weiwei and Julian Rosefeldt". The Sydney Morning Herald. Retrieved 16 February 2016.
  32. ↑ Howard, Jane (11 December 2015). "Manifesto Review (ACMI Melbourne Then AGNSW Sydney)". The Daily Review. Australia. Retrieved 10 February 2016.
  33. ↑ Calafiore, Siobhan (December 8, 2015). "Cate Blanchett stars in artist Julian Rosefeldt's Manifesto at ACMI". The Weekly Review. Australia. Archived from the original on February 13, 2016. Retrieved February 10, 2016.
  34. ↑ Fehily, Toby (8 December 2015). "Julian Rosefeldt's Manifesto Review – 13 Cate Blanchetts In Search Of A Meaning". The Guardian. Retrieved 10 February 2016.
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