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Although the sea may seem deadly calm, more water is “flowing”, they say. We hear that “human aspirations, dreams and plans” are sinking, along with all “temporary rental homes for temporary rentals” and “all drowning pharmacies”. Presented as fanciful notes, these references echo Kline’s accusation of the American dream, risk consumerism, housing inequality, and big medicine in the “Climate Change” series. But here comes the abstraction, which contrasts the bitterness of the previous work with the film’s calm drag. The real sadness of the movie – whatever happened, who is guilty and who stays – lies in the sense that the only thing that matters is continuing the business of interspecies survival.
Kline’s movie is full of dystopian “Blade Runner”-like emotions. Indeed, its music is an interlocking lament of synthesizer and saxophone arranged by the beatmaker. Galcher Lustwerk Pays homage to the genres that Vangelis composed for Ridley Scott’s film. Here, too, the more or less hellish world of the near future often lays the groundwork for the existential questions of human tenants. These dramas are, of course, rather short-sighted, even narrow-minded, compared to the broad mockery of the planet itself.
As divers pass around energy bars and bottles that could be beer, the gold stretching between the buildings and the sun-drenched avenues of gold, the sound softens and becomes indistinct, cross-chattering like overlapping scraps of characters. thoughts. One speaks of “human tears in water,” a line reminiscent of the android’s dying words at the end of “Blade Runner”: “All these memories will fade in time, like tears in the rain.”
Even as Kline writes science fiction, her form embraces nostalgia. The “adaptation” was shot on 16 millimeters of color film – the projector clicks on a derrick-like stand in the gallery – using scale models and other practical effects. Digital imaging that is becoming increasingly affordable for contemporary artists and the choice to use film over seamless HD video is more than just a rejection of this trend. This is how movies used to be made—and perhaps, he suggests, if computers fail or the entertainment industry crashes, they’ll be shot that way again. But the storyboard will also be broken, loop and loop for the duration of the show…
This is the temptation of Kline’s work on climate change: whether countries are meeting their greenhouse gas reduction targets, whether global warming can be kept below the threshold, to some degree. to change it is inevitable. Cities like Miami and New York will face rising waters and unprecedented storm surges – they are already facing. Yet Kline’s message in “Adaptation” is not necessarily a doomsday message – nor is it hope. We will just continue to live in the devastated world.
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