Diverse elements that constitute cinema – from its technical facets and grammar to its sociocultural roles and historicity – were evoked with joyous abandon in Grand Tour by the virtuoso Portuguese auteur Miguel Gomes. Forming a fascinating companion piece to his sublime masterpiece Tabu – in its tapping into colonial-era tapestry where nostalgia is sharply counterpointed by irony; chronicling of an infectious travelogue self-consciously stripped of exoticism; and channelling the palette of classical-era movies while deconstructing that and even celebrating its artifice – this wistful, eccentric, gorgeously composed, feverishly mounted and wildly experimental gem was ingeniously constructed in the form of a diptych. In the first act we follow Edward (Gonçalo Waddington), a British civil servant stationed in Rangoon in 1918 who flees in a fit of existential panic on the prospect of marriage to his fiancée Molly (Crista Alfaiate) arriving for that purpose; he travels to Singapore, Bangkok, Saigon, Manila, Osaka, Shanghai and further – initially to escape, but eventually through delirious inertia of motion – only to keep finding cheerful telegrams from Molly informing him that she’s happily in pursuit. In the second act we switchover to the optimistic Molly and follow her indefatigable journey, undeterred by Edward’s abandonment. Gomes, in a playful and idiosyncratic formal choice, alternated the story of the globetrotting lovers – shot in 16-mm on soundstage and accompanied by voiceovers whose languages changed based on the countries they’re in – with essayistic present-day footage of those places, some of which he’d shot before Covid stuck and directed the rest remotely. Further, though set in the past, one often sees them juxtaposed with anachronistic components, and this dazzling collapsing of the past and the present reminded me of Petzold’s engrossing film Transit.
Director: Miguel Gomes
Genre: Comedy/Romantic Comedy/Road Movie/Adventure
Language: Portuguese/Burmese/Thai/Chinese/Vietnamese/English
Country: Portugal
No comments:
Post a Comment