RED

Beginning with February, Art Yourself Gallery is hosting weekly film projections based on the exhibition theme of that particular month. Every Friday, two auteur films will be screened. Expect a mixture of classic and cult fiction or documentary feature films as well as shorts.

RED has colored film history with its rich visual and cultural connotations. The colour’s vibrancy and intensity has led filmmakers to tint the image itself in order to create mood, to convey a sense of madness and spontaneity. At the same time, filmmakers have played with red’s cultural associations of love, passion but also danger and ideology, making the colour their own.

The first group of films, Pedro Almodovar’s “Matador” and David Lynch’s “Wild at Heart”, reflects the way in which red can be used visually and narratively to underscore how love and passion can spill over into madness and danger.

The second batch, Jean-Luc Godard’s “La Chinoise” and Fax Bahr’s, George Hickenlooper’s & Eleanor Coppola’s “Hearts of Darkness”, looks at the colour’s historical ties to Communism. While Godard is disillusioned with the 1968 practical repercussions of the Communist ideology in Western Europe, “Hearts of Darkness” documents the ‘practicalities’ of shooting “Apocalypse Now”, as Coppola falls into the illusion that “this is not a film about Vietnam, this is Vietnam”.

The series couldn’t have gone without a group in which blood is a centerpiece; while it features in both Stanley Kubrick’s “The Shining” and Dario Argento’s “Deep Red, the two work with it to different effects.

The fourth set looks at how the femme fatale (and her red lipstick) has evolved in film. While Alfred Hitchcock has been known for creating threatening female leads that are eventually tamed, as is the case in ‘Marnie’, Jonathan Glazer has a different plan for Scarlett Johansson’s part in “Under the Skin”.