Time Code
Directed by Mike Figgis.
Time Code is extremely unusual. Four images run on the screen simultaneously, each following a particular character or set of characters in single takes that last the duration of the film. The characters sometimes meet and interact, the sound mix easing from one scene to another to trace out a narrative. This revolves around a film production house, its executives, a harassed director (Richard Edson), an aspiring actor (Salma Hayek) and the jealousy of her lover (Jeanne Tripplehorn).
It was shot entirely with digital cameras which removed limits on the length of individual takes and their small size allowed them to follow the actors whereever they went. The film was not scripted at all, the direction was limited to establishing a loose structure for the actors to improvise with for 90 minutes of straight filming. They did this once a day for 60 days, producing 60 films, one of which was selected for release.
Figgis should be commended for his innovative and imaginative exploitation of technology to produce a radically different form of film-making. Time Code deserves to be seen for this alone. Unfortunately, while the techniques were fascinating the actual content was not. The improvisation — either this or exceedingly tight scripting would be vital to co-ordinate the different actors — resulted in wandering and unfocused drama. Saffron Burrows has a camera to herself and is the first and last person you see but seems to make no contribution to the film. Is this a profound reference to the fact that most people don’t? The situation, narrative and individual characters were not very interesting in themselves. In fact, the subject matter —the production house and its superficial, stressed, promiscuous, cocaine-snorting inhabitants — looks like Figgis is making a smug reference to his own cleverness.
Guy O.
