The Face of Time - POV - Aarhus Universitet

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90 p.o.v. number 13 March 2002 Editor's note on Wind. In p.o.v. number 5 (March 1998), the reader will find the following material: • data on Wind and on the director Marcell Iványi; • a detailed reconstruction of the film with full descriptions and 22 stills; • interviews with Marcell Iványi and Yvette Biró; • two articles on this prize-winning short. This material is available on our web site at: http://imv.au.dk/publikationer/pov/Issue_05/POV_5cnt.html RR
A Danish Journal of Film Studies 91 On Wind: a question of ethics Antti Pönni Marcell Iványi's film Wind (Hungary, 1996) begins with an image of three women standing and looking at something off-screen left. Instead of showing what the women see, the camera starts to pan right. It gradually shows a flat, rural landscape (Hungarian puszta?) with birds flying over the fields (van Gogh's crows come to mind), a couple of houses, men pulling a small carriage, a lonely tree. Finally, as the camera begins to approach its original position, a disturbing scene is revealed: men with their heads covered by sacs are hanging from wooden posts. As the camera moves on, still another man is seen who is being prepared for hanging. His head is covered and the hangman kicks the stool out from under the feet of the victim. As the hanged man dies the camera keeps on moving until it reaches its original position, showing again the three women. The women turn and walk towards the house in the background. The image fades to white and is replaced by another image. A photograph by Lucien Hervé, The Three Women (Audincourt, France, 1951) fills the screen; it was the inspiration for this film. This description is no doubt "true" in the sense that it tells what "happens" in the film, and perhaps even gives an idea of what the film is "about." It is, however, insufficient because it doesn't really capture the disturbing and powerful emotional effect of the film. This effect lasts long after the film has ended and, indeed, in my view actually reaches its full force only after the film has ended. How does one grasp this emotional effect? I would like to argue that the film could be described as taking the form of a question, or
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The Face of Time - POV - Aarhus Universitet

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