Redes Screen 5 articles



Redes Poster
  • Redes still has one foot in the silent era, as many non-American films did well into the 1930s, and Zinnemann, working in collaboration with Emilio Gómez Muriel, achieves astonishing stretches of pure visual poetry when observing the fishermen at work or the stately procession of a child’s funeral.

  • Though the use of non-actors and a generally placid style gives the impression of a kind of pre-neorealism, evocatively angled compositions and the incorporation of Silvestre Revueltas’ gorgeous, stirring but never never overbearing score suggest that the directors learned the best lessons of Soviet propaganda and German expressionism, even as their catalog of rural Mexican ritual breaks the film of its European artistic debt and crafts a language all its own.

  • Without truly cohering into a narrative of any notable nuance, Redes still manages to predict what would many years later come to be identified with Italian neorealism (incidentally, another of Scorsese's formative influences).

  • Released in 1936 (making it the oldest in the set, which spans nearly 50 years) and shot in Mexico, this medium-length feature is a precursor to Neorealism, a portrait of working-class fishermen who rise in solidarity to unionize. As noted in the accompanying essay by Charles Ramírez Berg, the film is a unique negotiation between Muriel’s formalism and Zinnemann’s dynamism that makes the film effectively persuasive and beautiful.

  • In its stylised, sometimes boat-mounted camera angles – many of which would not seem out of place in the Harvard Sensory Ethnography Lab’s Leviathan (Lucien Castaing-Taylor and Véréna Paravel, 2012) – and its frames replete with carefully ordered bodies, abstract shapes, and parallel lines, Redes abandons realism and quiet observation in favour of exacting formalism and heavy fabrication.

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