senses of cinema wrote:
The form of the film was really derived from the conceptual basis of the film. Because the concept of the film was destruction, the form became destructive as well.
– Věra Chytilová (1)
I wanted to use colour concepts to disparage a lot of things. I had no intention whatsoever of arousing an aesthetic impression of beauty. But somewhere, early in the game, it turned out that the structure of things with respect to each other created aesthetics whose results I didn’t expect at all.
– Jaroslav Kučera (2)
Out come the scissors. A woman cuts through a field of black cloth (doubling as the screen of the spectator) and around the body of another. One plays mannequin to the other’s dressmaker. The scissors move from field to body as the first woman (both are named Marie) cuts at the second’s clothing. “Too much!” she says and cuts off the other’s arm. They cut off each other’s heads, which float across the screen asking, “Does it matter?”, and answering, “It doesn’t matter”.
This “productive instability” is a key to the film’s lasting interest. The socialist bureaucrats who banned Daisies for its depictions of food wastage and barred Chytilová from working for six years from 1969 to 1975 on the grounds that she lacked “a positive attitude to socialism” (12), auteurists, the Western critics who have appropriated it as a feminist work on the grounds that it revels in its heroines’ transgressions against a patriarchal establishment, New Wave aestheticians, and any other late-comers to this spoiled banquet, can all be accommodated…
Subtitles:English , Spanish , Portuguese-br