Red Capriccio Screen 7 articles

Red Capriccio


Red Capriccio Poster
  • While I’ve admired several of [Williams'] films in the past, Red Capriccio is the first one that has really opened a new avenue of thinking for me. That’s to say, earlier Williams films, while interesting and sometimes quite strong, have struck me as being works that I could index within certain available categories, whereas this new work may be a touchstone for how I see and hear subsequent films—no mean feat.

  • Red Capriccio, like most of Williams’s recent work, is assembled from material that he has scavenged from the Internet and then converted to anaglyph 3D. Many a Swan, which screened at Wavelengths in 2012, treats the found, two-dimensional images as pieces of paper, folding and bending them like origami.

  • It becomes clear that that blue-filtered red is just about as dimensional as the film will ever get, and the recognition of the participatory communal folly for having believed so wholeheartedly in what was so evidently yet another unfulfilled promise, brings a necessary jolt of self-mockery to a process on the whole treated far too much in earnest.

  • Red Capriccio has been written about eloquently by Michael [Sicinski], but since he wasn't able to see this siren assault on the big screen, I must admit just how ocularly oppressive—and impressive—the screening was, the "police spectrum" of colors stabbing one-two your eyes in an overpowering visual experience.

  • Red Capriccio represents his most refined use of the format to date... The corresponding color scheme of the vehicle’s emergency lights create a violently kinetic light show, which Williams matches with the sounds of swelling keys and incidental noise (all with allusions to 18th- and 19th-century art and music). A truly sensory experience, the film is as disorienting as it is invigorating.

  • Red Capriccio provocatively assimilates the outmoded process of anaglyph 3d technology with 18th and 19th century music and painting... Williams modifies the red-and-blue 3d processes to distend the viewer’s field of vision, forcing the colors apart and shattering the utopian capriccio into fractured pieces. Right in front of the viewer’s eyes, the world is in a spectacular tail spin. Buckle up.

  • Red Capriccio calls attention to 3-D’s paradoxical nature: ostensibly more “realistic,” 3-D in fact results in such an artificial, stylized form of dimensionality that it creates a sense of unreality. It envelops us in a world, but one that is profoundly defamiliarized. Williams takes advantage of this defamiliarizing quality to create a witty, haiku-like, yet haunting mood piece constructed entirely from (2-D) YouTube footage.

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