‘The cook, the cupboard and Joan of Arc’ (2020) Pittenween 14:37 -20:20 (2020)

‘The cook, the cupboard and Joan of Arc’ (2020) Pittenween 14:37 -20:20 (2020)

Excerpt from Pittenween 14:37 – 20:20

 

Pittenween 14:37 -20:20 (2020)

7:19

The setting of Pittenween 14:37 -20:20- a derelict outdoor swimming pool, gradually being eroded and absorbed by the rising sea – is a place between places. The sea and the shore; the artificial and the natural; the settled past and the post-human future. The characters within the film reflect this clash of time and timelessness; one wears contemporary clothes – and her doppelganger appears in mock-medieval costume. It’s this sense of being trapped between and within times – this liminality – that the film evokes and deconstructs. As the tides shift and the characters explore their own transience within the -quite literally- disintegrating human constructions of the past, the audience comes to face the contingency of our own fragmented life-worlds.

 

Excerpt from The cook, the cupboard and Joan of Arc’

 

The cook, the cupboard and Joan of Arc’ (2020)  

6:58

A dreamlike product of the long lockdown, ‘The Cook, the Cupboard and Joan of Arc’ draws on the tableau vivant of early renaissance painters and the films of second wave feminist performers to create a commentary on the dislocation and absurdity of quarantined life. A figure in apron and helmet moves through a confined, artificial space: watched by an array of sculptures, and tattered, distorted film stills from Carl Theodor Dreyer’s Joan of Arc (1928), she carries out increasingly deranged parodies of domestic acts. The confined space and the repetition of the figures actions works to illustrate the new and absurd temporalities generated by the collapse of our everyday life. But ‘Cupboard’ also critiques the ordinary performance of those gendered, anthropocentric, forms of life, as the artificial ecology of the main setting is intermixed with shots of a mysterious bunker. Caught between the absent present, a future that has failed to come, and an inaccessible past, ‘Cupboard’ asks whether the collapse of old life-worlds imprisons us; or opens the way to transcendence.

7:19