"There exists not only that which was but also its possibility." The film Flashforward infuses an apparently deadlocked present with possibilities. A multiple voice-over, which works more like an autonomous radio play than a classic commentary, develops fictitious scenarios such as that of a broadcasting station which "reconfigures and converts memories into flashforwards".
In classic narrative cinema, a flashback shows an episode out of the past from the perspective of a character in the film; usually the face of an actor is shown, followed by a dissolve. A flashforward, on the other hand, is a vision of the future; it also represents a subjective point of view, but is more difficult to integrate into the economy of classic film narrative than its counterpart. With flashbacks, the degree of reality and truth is only occasionally questioned – in the case of so-called "lying flashbacks"; but with flashforwards, it is inherently unclear what significance should be attached to what we see.
The film Flashforward is a rejection of the "escape into interiority" connected with the flashback; promise of a possible future can only be intersubjective, located "between memory and hope", for instance, as love or a "memory of two". Flashforward might also be regarded as an attempt to politicize the classic film story par excellence, the story of how a couple is formed (boy meets girl), and to turn it against the culture of remembered interiority. Conducive to this attempt is also the absence of lip-synced text. "Cross-fade from yourself to roles", demands the multiple voice-over, its speakers often changing in mid-sentence. In Flashforward the actor is opposed by the extra: "extras of time", hardly burdened by set roles, are perhaps best suited to cut through the inner monologue and to turn it into a public conversation – as it is called in the film.
circular movements and forms keep recurring as if to stress the break
with linearity. One long sequence shows a radio studio being filmed by
a circling camera; in this studio diverse individuals are going through
simple repetitive movements and actions, yet the circling camera never
establishes the same scene. In the "possibilistic logic" of Flashforward each repetition is different – a brief trip
through time into the possible.
Premiere: 07.10. - 28.11.2004, intermedium@utopia station, Haus der Kunst München
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