A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Search This Blog

Wednesday, May 7, 2025

Chain (Jem Cohen, 2004)


 Cast: Miho Nikaido, Mira Billotte. Screenplay: Jem Cohen. Cinematography: Jem Cohen. Film editing: Jem Cohen, Davey Frankel. 

Look at something familiar -- a word, a face, a tree, a building -- long enough and it becomes something alien, an arrangement of shapes and lines. Look at it for a while longer, and it can begin to take on a significance you've never found in the object before. That's what Jem Cohen's Chain does to one of the most familiar and banal of American institutions: the shopping mall. For some it's a place of comfort and convenience, while for others it's an emblem of consumer capitalism. For the two very different women who are the focus (not the protagonists, certainly not the heroines) of the film, it's a bit of both. Tamiko (Miho Nikaido) is a Japanese businesswoman who sees the shopping mall as a place to be exploited for the profits of the company she works for. Amanda (Mira Billotte) is a homeless runaway who sees the mall as a place to be exploited for mere survival. Adroitly manipulating images filmed at malls all over the country, Cohen first deconstructs the shopping mall and its welter of familiar corporate logos, and then, through juxtaposing what happens during the days Tamiko and Amanda (who never meet) spend in this ambiance, allows viewers to bring their own significance to an unlikely place. The result is eerie and revelatory.