Corpus Callosum (2002)

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AUDIENCE SCORE

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Movie Info

Structuralist filmmaker Michael Snow incorporates elements from the last 50 years of his career to create the experimental feature *Corpus Callosum. Also a painter, photographer, and sculptor, Snow's films focus on the mechanics of the camera and the formalistic possibilities of filmmaking. Like 2002's Waking Life, *Corpus Callosum was shot on video with real-life actors and animated afterwards with Houdini software. Captured in slow zooms and 360-degree pans, the images are continually messed with by various means from high-tech animation to presenting the video in reverse. Due to the digitized stretching and twisting, the characters often switch clothing, genders, and ethnicity in graphic manipulations. Meanwhile, the characters remain indifferent to the exploding images around them. Snow sets the characters in a generic office space where the environment is distorted by their actions. He also uses a living room setting where a family watches a blue sky on the TV, while their media-oversaturated home fluctuates around them. The film also manipulates the basic filmmaking process by placing the credits in the middle. Partially funded by the Canada Council for the Arts, *Corpus Callosum premiered at the International Film Festival Rotterdam. ~ Andrea LeVasseur, Rovi
Rating:
NR
Genre:
Musical & Performing Arts , Special Interest
Directed By:
Written By:
In Theaters:
 wide
Runtime:

Cast

Critic Reviews for Corpus Callosum

All Critics (7) | Top Critics (5)

This 90-minute postmodern voyage was more diverting and thought-provoking than I'd expected it to be.

Full Review… | December 6, 2002
Globe and Mail
Top Critic

The wanton slipperiness of *Corpus and its amiable jerking and reshaping of physical time and space would make it a great piece to watch with kids and use to introduce video as art.

August 28, 2002
New York Times
Top Critic

Corpus Collosum -- while undeniably interesting -- wore out its welcome well before the end credits rolled about 45 minutes in.

August 28, 2002
New York Post
Top Critic

A bonanza of wacky sight gags, outlandish color schemes, and corny visual puns that can be appreciated equally as an abstract Frank Tashlin comedy and as a playful recapitulation of the artist's career.

August 27, 2002
Village Voice
Top Critic

Sometimes feels uncomfortably like a 93-minute Photoshop demonstration.

Full Review… | August 26, 2002
Time Out
Top Critic

Snow has drafted a thought-provoking yet engaging video essay on the instability of images.

Full Review… | August 8, 2004
Film Journal International

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