Researching Surrealist Films - Taking Inspiration for my own Film

 Two examples of short surrealist films to take inspiration from 

- Somnium (2020), Gordon (2014)

Somnium -  Created, written, and edited by Felix Lobel (linked below):

I have chosen this film to analyse because I believe it is very effective in creating an unsettling tone by taking elements of horror through fear of the unknown. Namely, the sound design is incredibly effective in distorting the viewer's sense of reality, reflective of the protagonist's mental state -suggested through the confused facial expressions - and relationship with a demonic-like entity, who is cleverly voiced by reversing the dialogue so there is a breathy, unnatural contrast of voice/performance to the protagonist. This works within the narrative as, by the end, we realise this subtitled voice is the mirrored reversal of the protagonist - although without context, which keeps the coherency of the surrealist genre. The sound is also effective in increasing tension within the spectator as the protagonist changes setting; we are introduced with natural sounds of birds and grass movement, with the overlayed demonic voice, estranged to the appeasing setting. This alienates the audience from realism, and as the protagonist subtly responds to this voice with 'something was wrong', the ominous, muffled sound increases in volume until there is an unexpected boom paired with a shot filled with a circular white light that indicates a change in setting in the coming sequence, and hints at an omnipresent, sinister force. 

The editing is effective at building tension within the spectator; in the following interior setting, the protagonist is graphically matched in his previous pose of bending over and covering his face in distress. This is effective in straying from realism as it suggests to the spectator that the protagonist finds himself transported unaware from unrelated settings. As he familiarises himself with the room, there is a cut to a boxed record player, framed from a POV high angle which is effective in placing the spectator within the film, as if experiencing this alongside the protagonist, thus making the unsettling tone enhanced and more directly impactful for the spectator. Directly influenced by horror, there is another unexpected event as a gloved hand pushes the record player shut, which I find uncomfortable to watch. Thus, by placing the spectator alongside the protagonist, this shot (may) evokes a negative (therefore engaged) response from the spectator. there is also no camera movement, which firmly places the spectator within this room, giving the illusion that there is no escape. What is interesting about these settings is that they display comfort and familiarity, yet there is something unfriendly lurking. This is achieved through the sound, as well through the low-key lighting and mise-en-scene. For example, within the interior setting, there is an insert shot of a fire, yet paired with the low-key lighting, uncomfortable silence, and unexplained record player - purposeful editing to separate these elements, reflecting the disjointed mental state of the protagonist and narrative - the seemingly harmless mise-en-scene is tarnished with a dark, unfamiliar, and sinister aesthetic. The logic behind the sequencing of each setting connects an aesthetic theme; within each of the three settings (field, interior room, and exterior street) there is a light. The first being the unexpected white circle of light, the next being the fire, and the last being a street lamp. This detail suggests a narrative that this omnipresent voice throughout who the protagonist speaks with is represented through these lights, which is heavily suggested in the final shot as the voice reveals itself to the protagonist; a side profiled mid-shot where there is a beam of light onto his face. 

Although this narrative has no context, which is key to the surrealist genre, there is some form of closure with this ending as the spectator, although not revealed of the voice's visual identity, is given a suggestion of a storyline that breaks the enigma surrounding the film's ideas. I personally enjoy this enigma, and the use of creating a familiar setting juxtaposed with the character's disorientation and unnatural sound is something I will consider for my own surrealist project. One thing I find quite on the nose is the film's title that translates to 'dream', which is the founding concept behind surrealism, and largely unexplored in the film.

Gordon - Jake L'of'uen (linked below):

Described by the director: 'This one's about a murder, an escape and the abnormality within normality. The intention was to create a surreal/avant-garde piece to capture the inner, dark desires and fantasies of a seemingly ordinary individual. Inspired by the works of Alfred Hitchcock, Roman Polanski, David Lynch and Wes Anderson.'

I chose this film to analyse as its bright aesthetic subverts the conventions of surrealism, using a light-hearted tone to communicate a dark narrative. In concept this idea can prove original and fresh for the spectator, yet in execution I personally find it lacking. This is mainly through the over-literal dialogue and performance, clear narrative that is not thought-provoking, and editing that does not distort or disturb the spectator, which is a main attribute in surrealism. 

One thing I find effective about this film is its aesthetic; the shots are filled with a charming and brightly coloured mise-en-scene which visually engages the spectator, using wide shots in a balanced composition, and an effective quick pan after the title (all clearly referencing Wes Anderson's style). The narrative is conventional, with a clear story being told of the protagonist, Gordon, apparently murdering this other woman from eating a cake, and running away into the woods as a result. There are flashback shots of the cake, reminding the spectator of the introductory sequence and distress that the protagonist feels at her death - although unconvincing as the dialogue shows him supposedly talking to himself: 'honestly, I didn't she would actually eat it, it was a joke'....'I didn't do it', which positions the spectator to view this murder as non-serious or actually as a threat to the protagonist, removing any potential tension or interest in the narrative. 

There is no nuance or unsettling aesthetics to compliment the darker narrative, leaving the spectator in confusion at what meaning (if any) was supposed to be communicated. Therefore, I do not see this as a surrealist film; a lack of context, perhaps rearranging the sequences so there is a visual but unexplained connection between shots, would make this more interesting for me - something that I believe Somnium achieved well. The only surrealist element I see as fitting to the genre is the vintage rotary dial phone appearing in the woods without explanation. One thing I find effective, and that I have taken inspiration from for my own film, is the use of slowing the dialogue, making it silent, and overlaying obscure sound from the woman at the start which introduces the film to be surrealist and dream-like. The rest I have criticised is what I shall try to avoid.