The Face of Time - POV - Aarhus Universitet

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98 p.o.v. number 13 March 2002 speaking of the ethical relation with the Other, Levinas uses terms like "infinity", "enigma" or "obsession". It seems to me that these terms also describe quite well the disturbing effect created by Wind. The film's "indifference" towards the hanging, its refusal to give any psychological or political explanation to what is happening, creates precisely that kind of disturbing effect that Levinas sees in the ethical relation. The killing is laid bare as nothing else but killing pure and simple. The people are seen not as representatives of some political movement that might in some way legitimize or explain what they are doing. They are simply people killing and being killed. Who they are and what their motives are remains an open question, an enigma. The question of the film, instead of dying when the "answer" is reached, is revived and stays alive long after the film has ended. Like the Face that speaks the words "Thou shalt not kill," Wind leaves us obsessed with the question without an answer, the enigma of the Other.
A Danish Journal of Film Studies 99 KITCHEN SINK Alison Maclean (New Zealand, 1989), 14 minutes, 35 mm, b/w Production credits and cast Writer/Director Alsion Maclean Producer Bridget Ikin. Hibiscus Films Photography Stuart Dryburgh Art director Grant Major Editor David Coulsen Sound design and mix John McKay & Chris Burt Music The Headless Chickens The Woman Theresa Healey The Man Peter Tait Schoolgirl Annagreta Christian Festivals and awards include: Selection for competition at the Cannes Film Festival, 1989 Certificate of Merit, Melbourne Film Festival, 1989 Audience Award for Best Short Film, Sydney Film Festival, 1989 Sitges International Film Festival, Spain, 1989 Best Short Film, Listener Film & Television Award, New Zealand, 1989 Best Short Film, Oporto International Film Festival, 1990 Special Jury Award (Short Narrative), Golden Gate Awards, San Francisco, 1990 Alison Maclean Born in Ottawa, Canada, in 1958, Alison Maclean spent much of her childhood in Canada, emigrating to New Zealand with her parents as a teenager. She is a graduate of the Elam School of Fine Arts, Auckland, where she majored in film and sculpture. She now lives in New York, where directing music videos is one of her major activities. Alison Maclean on Kitchen Sink The story came to me in much the same way as events unfold for the woman in the film. I could see this hair sticking out of the plughole and on closer inspection, the story began to emerge and to transform itself in quite a surprising way. It's a dark little fable about fear and desire – about a woman who re-fashions a monster into a man, and finds herself falling for her creation. In some sense I see it as a Pygmalion-type story, with the genders reversed.
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The Face of Time - POV - Aarhus Universitet

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