Advancement of technology in film is a constant, and thus, the horizons of its boundaries as an art are also ever expanding. For the first time in my life, I really had to contend with whether a single screen theater was limiting for a motion picture. Julian Rosefeltd’s film, or more appropriately, cinematic art piece, Manifesto is a movie which was exhibited in two different forms, both vastly changing the structure and therefore the perception of the piece as “cinema”. It was first released in the Australian Center for the Moving Image in a gallery setting which showcases Cate Blanchette, playing 13 different roles, on different screens throughout the room and reciting 13 different manifestos on the idea of “art” itself. As you walk deeper, the voices of her different characters start to create a conversation or argument, or as Jane Howard put it in The Daily Review, “an unspoken stand-off”. This is an experience, a three-dimensional space which takes the 2-D cinematic image and echoes it to and from us in multiple directions. It’s a cinematic piece you literally walk through, experience as you are in motion in real time, in the real world.
Suffice to say, this is not how I personally experienced this film, and it brought about limitations and complications which again, made it clear that a single-screen theater was inadequate in showcasing the new horizons of what artists can do with the film medium. Manifesto, the 90-minute popcorn motion picture, is not much more than a long-string cut-and-paste rant. Out of the 13 different sermons you sit through, the only one which made any sense in the traditional theater setting was the news broadcast because, well, by its definition it is to be watched motionless in a single sitting. Rosefeltd’s writing is clearly passionate and clearly demonstrates a deep understanding of art history and it’s underlying philosophies, all of which are masterfully recited by Blanchette who, in many cases hams it up (perhaps the nature of the piece is to be satirical of art), but also manages to embody the writing in her movements and her biggest asset as an actress, her eyes.
It was clear, however, that I was watching something that begged to be limitless, not constrained in a traditional movie theater and demanded its viewers to not be sitting on their asses munching on popcorn for 90 minutes. It perplexes me why Rosefeldt would want his film to be shown in this setting after two highly-touted exhibits in Australia and Berlin which captured the essence of the project’s ambition: to create a cinema which architecturally invades us through all its forms, visual, audial, and as interaction with the viewer. If the gallery exhibit was like riding a rollercoaster in an amusement park, the theater screening which I sat through was more like someone reading me the entire pamphlet or brochure for Six Flags. Maybe this was the point. By showing the project in both areas, Rosefeldt can illuminate the limitations of the theater complex itself. If film is to enter a new horizon as and artistic medium, then Rosefeldt is claiming its current home of the movie theater is not sufficient.