Review: ‘Everywhere at Once’

Sumptuous-bordering-on-decadent imagery and elusive meaning inform this pure art film concocted by the team of fashion photographer Peter Lindbergh, filmmaker Holly Fisher, poet Kimiko Hahn and composer Lois V Vierk.

Sumptuous-bordering-on-decadent imagery and elusive meaning inform this pure art film concocted by the team of fashion photographer Peter Lindbergh, filmmaker Holly Fisher, poet Kimiko Hahn and composer Lois V Vierk. Although its existence will be lived out on the festival circuit and via museum showings, pic is a provocative statement about pictures and meaning and the way narration and star presence — in this case, that of Jeanne Moreau — can conduct interpretation as though wielding a baton.

Lindbergh’s photos are the backbone of the project, intercut with Tony Richardson’s “Mademoiselle” (1966), starring Moreau, who is also captured in late age by Lindbergh’s merciless camera. The juxtaposition of Moreau’s youthful and aged faces make it impossible to read anything but a message of mortality into Hahn’s text, narrated by the actress, although anything would be possible given a different set of images. It’s an elusive and mysterious film, one that at times evokes Chris Marker’s “La Jetee,” Robert Capa and Giorgio de Chirico. As such, it possesses a certain magic.

Everywhere at Once

Production

A Studio Peter Lindbergh presentation. Produced by Patrick Deedes-Vincke. Executive producer, John Conley Directed, edited by Holly Fisher. Screenplay, Kimiko Hahn.

Crew

Camera (B&W/color, HD, DV-to-35mm), Peter Lindbergh, Fisher; music, Lois V Vierk. Reviewed at Tribeca Film Festival (Encounters), April 27, 2008. Running time: 73 MIN.

With

Jeanne Moreau.
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