147. Final Cut

★★★

The question that lies at the heart of Final Cut is if can you take hundreds of films, cut up clips and scenes of them and mash and rearrange them in a way that creates a narrative that actually makes sense? The answer is yes. But then we must ask, is this new film or narrative any good? And to that we answer: well……

The brainchild of Hungarian filmmaker György Pálfi, Final Cut is intriguing and thought-provoking in its ability to let images create meaning and let audiences extrapolate a narrative. IPalfi does lay down the foundation of a narrative through his hundreds of not even characters but just changing faces: guy falls in love with girl, they fight, then get back together, something along those lines. It’s interesting because the film makes us wonder if the narrative is in fact there or if we’re just putting a narrative there because having something make sense as a story is comforting to us.

But again, is it enjoyable? For experimentation purposes, yes. But in terms of a cogent, beginning-to-end film? Pálfi seems to be more enticed by the fact that he can do something like this instead of necessarily making the best version of it. Then again, that’s like looking at a Jackson Pollack painting and saying it isn’t any good because a paint splat was too big or too small. If anything, Final Cut is an outstanding film because it  assembles a story out of nothing, a coherent-enough story that the fact we can even say if it’s good is a strong indicator of its superior quality.

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