“A Girl’s Own Story stands out for the concrete stylistic choices elaborated in each scene, but also owes much to an overall tone: passionless, desolate. This atmosphere is soaked in the experience of a world that is too small and gives too little, a world filled with boring rituals and sickening family dynamics. Costume, décor, and sound play an important role in the depiction of this milieu. Listening to the film attentively, one can appreciate that there are many details unifying its soundscape: music cues that are never gratuitous; voices coming from TV sets; animal, electrical, and human background noises. However, the main dialogue sounds raw, as if projected into a void space.” Cristina Álvarez López offers a sympathetic reading of Jane Campion’s A Girl’s Own Story that remains somewhat in awe how fully-formed and still ambitious the director was in this 25-minute short.
“And what does that puppet master have to say about the accusations of sexism and promoting real-life violence addressed in Tenebrae? He actually seems to agree with them. This film is an utterly despairing, nihilistic vision of art and artists as unable to achieve anything positive in the world. If art can change the world, in Tenebrae, it can only damage it. I’m sure this was adopted as a devil’s advocate position, and the film’s early scenes express it with dark humor, but by the time the film’s final 10 minutes turn into a parade of slaughter, it cuts pretty deeply.” Steve Erickson argues for an appreciation of Argento that doesn’t just acknowledge the filmmaker’s misogyny before passing over it, but keys into the director’s self-awareness of the issue as a way of making his films even more despairing, no-escape labyrinths. Via David Hudson.