...Final Cut is little more than an exercise in fun. The cinephilia at play here is purely aesthetic, a result of an encounter that doesn’t value the sensory intensity of the filmic moment, and can hardly be heralded as the new kind of cine-love that Sontag was left desiring. Pálfi creates a “new” story out of assembled film footage – but the result is not as tightly composed or pointed as work by recent purveyors of this art like Christian Marclay or Tracey Moffatt.
Knowing this was the work of the creator of 2006′s marvellously grotesque Taxidermia, my expectations were high... What I really did not expect was a conventional love story between a man and a woman, yet the sexual politics in Final Cut are really pretty darned retrograde, as flagged by the overextended use of audio from Gilda (Charles Vidor, 1946). To think, that in 2013, we’re still putting the blame squarely on Mame!
The joyous compile of clips from numerous films into one cohesive, recursive whole enlivened BIFF’s single evening of Open Air cinema, as well as its bid to harness the city’s film fervour.