Meomsa

Meomsa - a look into the black arena of the night - associations made with texts by Friedericke Mayröcker - erotic moods, which are expressed in situations - in atmospheric pictures of the big city - looks are drawn toward objects in a room - clothes - decorative feathers - a sequinned corset. Remains of erotic moments. The black arena of the night is far from the rationality of the day - Meomsa is fictive. She lives in a story, in the tension between "nightingale and needle," between erotic and hurt. "Flowers on the end of the flesh" - the rose as a symbol... The room in which this film takes place is not a real room, and is not any specific place. The room serves as an imaginative and associative space between the viewer and the film picture.

(L.C.)


Their mutual ACT and SCENE however seemed past and gone, they dis-appeared suddenly as in a forest, in a green backdrop also rain back-drop, dabbed with white and pink dogroses, only from a distance do I hear trompe, trumpet, vortex, also, my rib has split... the angry hissing and rumbling, and while the wind harped in the gar-den, thus the REEL. And how everything spins in my head, I mean that with the mushrooms, like a tow it constantly trails behind in me, my eyes overflow from it, the stones overflow in white and pink, the hills, the valleys, damp-warm weather, winter-spring. The raven that scooped water comes close to my bed ...

(Friedericke Mayröcker)


Christanell’s meticulous filmic work about objects is perfected in Meomsa. In this film jewelry, pearls, and lace become signifiers, instruments through which mechanisms of a fetish system are visualized. The film is structured upon the problematic nature of the gaze in regard to closeness and distance, the desire and terrors of searching for what might – yet is not – permitted to be
seen, the impossibility of gaining access to the erotic object. These themes permeate the very technique and narrative strategy of the film.

(Karin Rick)


One of the traditional tasks of the film avant-garde is to show what cinema is capable of when it is released from literary stories, from narration: how to interweave seemingly unrelated pictures, how to convert outer and inner spaces into a synthetic, unrealistic third cinema space. Linda Christanell´s works are a study of such a space. In the confrontation, in its layering, the material is subjected to an edurance test.

(Stefan Grissemann)