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ISSN 1409-6900 | UDK 82+7     Blesok no. 119 | volume  | May-June, 2018



                     Peer-reviewed journal
Blesok no. 119May-June, 2018

Tribute to “Bikini Moon"

Will Milčo Mančevski’s film discourse be most digged by painters?

p. 1
Sonja Abadžieva


Tribute to “Bikini Moon"

Translated to English by Milan Damjanoski

    In my interview with Milčo Mančevski (Golemoto Staklo, No. 14/15, 2002), I have drawn a close correlation between his love of the fine arts and his (other) love – film. “I consider the objective as one of the fundamental elements of the creative-artistic process, because of the direct connection of art with the objective” – stated the author even from his earliest days as an artist doing performances and happeningsin 1983. Even though his cinematic cryptography has always subtly revealed this “secret” connection in his films, in Bikini Moon, his latest work, this has become overtly evident through the process of the decomposition and deconstruction of the film narration. The narration is fractal, fragmented just like in Cubism – Mančevski’s favorite style of painting. During their cubist phase,artists such as Pablo Picasso, Juan Gris or George Braque spread a web of imagination over pieces of reality (newspaper clippings, parts of photographs, paintings). This is also the case in Bikini Moon, where the gritty reality faced by the main character is overshadowed by the creative fantasies of the author, never truly allowing reality to hold sway over the artistic and vice versa. The clash of everyday life with the surreal or the metaphoric (the praying mantis, the group party scenes…), draw us equally into a sort of Dadaistic adventure of swirling obscene scenes, just as once the world was irritated by the lucid ironies of Marcel Duchamp, the absurd actions of Tristan Tzara,the fictional-faithful collages by Kurt Schwitters, as well as by the later phenomenal constructions of Robert Rauschenberg. This entire history of art is further enmeshed by Mančevski with the blurred impressions (akin to the photographic reflections in the paintings by Richter)made by the creative unarticulated movement of the camera, then with the intermittently edited images and effects of the latest scientific discoveries produced in the style of a music video/TV ad. Showing that he is an exceptionally gifted erudite, the author intentionally mixes old and new “technologies”, styles and genres mainly focusing on the relation between the document and its artistic interpretation. This is not just a mannerism captured in the film, but it constitutes a well-known process in the fields of the visual arts and literature: best exemplified by the novels of the most famous bad boy of today’s belles lettres – Frederic Beigbeder (especially my favorite

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