I Am Curious (Blue)

The second part exploits the boundary between fiction and reality, but this time using different techniques: instead of sociological research and a documentary objective detachment from the protagonists, it emphasizes the personal aspect of the protagonist’s personality, which is also connected with the emphasis on a "more traditional" metafictional approach, thus subverting the uniqueness of the fictional character by showing its secondary nature in relation to the film's creator. Compared to the first part, the second part is more visceral, and moreover, it is also gloomier and bleaker (after all, it is melancholic blue compared to the cheerful yellow): the search for oneself from the perspective of the protagonist and her exploration of her place in contemporary society cannot be carefree because it concerns the establishment of identity in an uncertain world. Fortunately, it is uncertain - freedom, which is always open, proclaims its anxious share. Otherwise, the second part is in no way just a continuation of the first part, as it differs not only formally but also in terms of content, and in the second case in that the "events" of the second part often precede the events of the first part and in a way "anchor" it. However, that is a strong word because here too the viewer is confronted with the necessity of acknowledging the non-reconstructability of the difference between the fictional plot and the alienating splitting, which turns the main character into an actress or the director into an actor, intervening in the world of fiction and what is "real" (the one that controls fiction). The viewer thus gets used to the permeability of both instances, thanks to which reality also serves fiction in its artistic effect. (22/05/2015)