‘Nothing is original (okay?)’/‘So you can steal from anywhere that resonates with inspiration and fuels your imagination (okay)?’
Cate Blanchett, ‘Cinema’ Manifesto, playing the part of an Australian primary school teacher
'Manifesto is a 2015 Australian-German 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. The film premiered and screened at the Australian Centre for the Moving Image from December 9, 2015 to March 14, 2016. The installation was also shown in Berlin at the Museum für Gegenwart (at Hamburger Bahnhof), from February 10 to July 10, 2016, and the Park Avenue Armory in New York City from December 7, 2016, to January 8, 2017.
A 90-minute feature version premièred at the Sundance Film Festival in January 2017
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 a homeless man. The film consists of 13 segments, each 10:30 minutes long.'
Six people in the cinema, including me, it’s around lunch-time at the Cinéma des Cinéastes (Place de Clichy is just outside, the location written about by Henry Miller in books I thought about re-writing, or at least parts of them, from the point of view of the absent women). All very appropriate when watching Cate Blanchett feminise, embody, the great texts I studied as a much younger woman at high school and university.
Listening to her intone the pop-sensibility of Claes Oldenburg as if it were a prayer, when saying grace to her own family (eyes closed, to their sudden laughter at one point) or declare the Dada manifesto at a funeral, spitting out the words with spite, at times. Here is an extract from one of the many manifestos written by Tristan Tzara, this is from 1918.
Originally created as an art installation with all the texts being heard at the same time, here they are transformed into ‘readings’ - as in readings for an audition, we are always aware that they are being performed because of Blanchett’s technique (see, for instance, that striking scene where she is a ‘tattooed punk’ inhaling smoke on the word ‘incandescence’ as if mocking the pretentious nature of the word and language itself. When checking this scene after writing that sentence, I realised this is my imagination, the inhalation of smoke follows the words, it does not frame them).
I like the way the characters are named, this in itself is poetic: 'Burning flame; homeless man; broker; worker in an incineration plant; CEO at a private party; tattooed punk, scientist; funeral speaker; puppeteer; conservative mother with family; choreographer; newsreader and reporter; teacher.'
Watching this film with its emphasis on foregrounds and still scenes (or aerial shots in the dramatic opening sequence) makes you think more about how cinema is something that is constructed. With this in mind the sequence with the mother leaving her sleeping child is particularly touching (and honest, I was grateful that there was no last-minute close-up of the mother embracing her child).
Outside as the dishevelled woman goes to her motorbike in an environment that echoes her face, etched with neglect, the scene reminded me of the great artist Chantal Akerman’s portraits of women and women’s lives. (Minutes earlier the character has the most remarkable language, poetry and politics fill her mind, as she wearily gets ready to go to work).
Here are links to all the texts and the scenes and this music makes up the soundtrack: