As soon as we turn our cheeks and completely blind our eyes, our tongue appears before us like a prey waiting to be bitten. A Human Position (2022), which focuses on the poetics and daimon of space rather than the body itself – which its name refers to – is in pursuit of its Stimmungun in general terms. He uses this to increase the probability of the mysterious aspects of places thought to have mysterious infrastructure. More precisely, he tries to create a concept of consciousness in spaces full of bodies. This approach creates gaps for evaluation. Although the interior of the frame is filled with everything a place should have, the stillness of the place makes it almost unrecognizable. This unrecognizability causes us to question the city itself, at which we are very accustomed.
The Victory of the Imagination is Our Image
While the slowness of the image sometimes creates unnatural spaces, it also steals some moments from the story. This is a way of bringing some associations to the surface. While developing the narrative on spaces, the Norwegian writer, director and producer Anders Emblem uses the natural slowness to refer to the parallel depth of relations on people. The automatism that emerged in opposition to animism leaves the control between the characters completely to the individuals. While the bodies somehow move on their own and reach the points they need to go/reach, they also feel the mechanical power that life necessitates. In a way, this is a reference that undermines the understanding of the daimon between bodies. The slower the time dwells between spaces, the more the bodies that serve automatism multiply within themselves, turning a moment that would never have been a dream, into a real dream.
The director’s second feature film, A Human Position is a production in which the language of the camera comes to the fore in the narrative. While the character acts as a kind of object in the movie, our main communication tool derives from visuals without language. This technique, which evokes a kind of surrealism, is an indicator of living enlightenment on modern life. Spaces that progress silently and decisively are not in the palms of the characters, rather the characters are in the palms of these spaces. Although the area has a completely empty space, it is possible to hear the screams of silence and inactivity at this point.
The Sadness of Taking Out the Watch from the Wrist
Considering the title of Anders Emblem‘s previous film, Hurry Slowly (Skynd Deg Sakte), it can be thought that speeding up time is a sign of delaying it. Asta (Amalie Ibsen Jensen) and Live (Maria Agwumaro), who are the protagonists of the movie and are an object of the narrative, try to break the fourth wall in this way with their silence and slowness. For man to gain his own position, he owes priority to movement. When the monotony of the movement knocks on the door of fiction and narrative close to reality, the positions have already dealt their cards to the tables. As an inner conflict, all the actions taken to try to find oneself in a place and to bring oneself to life create connections with the high dynamics of deliberativeness. While the adventure of bodies finding themselves in spaces dances nervously on a hair line, it deliberately creates a shelter for itself.
In A Human Position, we can define this shelter as a house. The shelter of the house is the city itself, which we witness in large frames. The film, which creates its own story every time we can’t get out of the screen that opens in the heart of Norway, reconstructs them over and over while trying to play puss-in-the corner and make them lose their traces. Even when the body is in search of a meaning for itself, the meaning situation here will not be exaggerated, although it must destroy many times what is inside it.
I Painted the Body That Will Someday Be Mine
Reminiscent of contemporary paintings, the frames of the film take their intensity from their objects and have a breathing spiritual architecture by using the characters Asta and Live. Depression-like feelings reflected through the characters are a kind of cloak or shadow of the city itself. Whenever Asta and Live have their backs on the picturesque reflection of the city, they fall into an indescribable sadness over it without realizing what they have lost. A Human Position, which reflects the desire of the person not to be anyone but oneself, where all the characters try to meet in a single body, and even to swallow the whole city with one body in the quietest way, is a movie surrounded by identity crisis and depression, dragging them everywhere and anywhere its aura turns to.