By Alonso Castro
In Streetscapes [Dialogue] (2017) Heinz Emigholz proposes us with a complex exercise in the reconstruction of space and time through the montage, in which architecture predominates -displaying beautiful images of buildings’ dimensions and textures-, as well as dialogue. Through pictures of buildings designed by Julio Vilamajó, Eladio Dieste, Arno Brandlhuber, among other architects, in the fourth part of the series of Streetscapes [Dialogue], Emiglhoz reflects on the durability of time through space from the link between architecture and cinema.
Streetscapes [Dialogue] is also presented as a binnacle where Emiglhoz reconstructs an account of himself -in dialogue with the figure of the psychologist Zohar Rubinstein-, in which he recognizes, explains and analyzes his life and experiences that have shaped -although not unequivocally- the meaning that he prints in the cinematographic treatment of time and space through the representation of architecture. Thus, in the film, frames of interiors and landscapes that symbolize different emotional states coincide or contrast with what is exposed discursively. The story is not linear, but one with many fluctuations that recreate not only the meaning of the narrated, but the same concepts represented in the film, as well as the concept of cinema.
Concepts such as space and architecture are apprehended from the discussion about the cinematographic sense of a film between both characters. However, they are also notions that are not discussed only at a discursive level, in the world of words, but they acquire materiality with the evolution of the exposed images of interior decorations, the architecture of buildings and landscapes that compose cities, creating a harmonic sense between discourse and representation.
Director: Heinz Emigholz
Screenplay: Heinz Emigholz, Zohar Rubinstein
Director of Photography: Heinz Emigholz, Till Beckmann
Editor: Heinz Emigholz, Till Beckmann
Producer: Frieder Schlaich, Irene von Alberti