Five Obstructions
What are the precise rules of each of the obstructions?
- The first obstruction requires Leth to remake his 1967 film “The Perfect Human” five times, but each time he must shoot it in a different location. For example, he films in Cuba, Brussels, and an industrial factory.
- The second obstruction requires Leth to remake the film, but this time it must be only 12 frames long, and he must place a new constraint on the storytelling process.
- The third obstruction requires Leth to remake the film as a cartoon, and the animated characters must look like the real-life actors from the original film.
- The fourth obstruction requires Leth to remake the film in a “slum area” with no set and only use a camera with a maximum of 12 frames per second.
- The fifth and final obstruction requires Leth to remake the film in a way that von Trier specifies, but he doesn’t tell Leth the instructions until the day of the shooting. Von Trier wants Leth to make the film with “the most miserable thing you can think of.” He eventually tells Leth to make the film in a personal diary format, with Leth himself as the subject.
How does Jorgen cope with the obstructions?
Throughout the film, Jørgen Leth copes with each of the obstructions in different ways, using his creativity and resourcefulness to find new ways to tell the same story.
At first, Leth is hesitant about the obstructions, but he ultimately rises to the challenge, using each obstruction as an opportunity to explore different creative possibilities. For example, in the first obstruction, he travels to Cuba to shoot the film in a new location, and in the second obstruction, he creates a powerful 12-frame story that forces the viewer to fill in the gaps between each frame.
In the third obstruction, Leth embraces the challenge of creating an animated version of the film, despite his lack of experience in animation. He works with a team of animators to create a version of the film that is both faithful to the original and creatively distinct.
In the fourth obstruction, Leth faces the challenge of creating a film in a slum area with no set and a low frame rate. He chooses to focus on the people and places around him, capturing the gritty and realistic details of the environment.
Finally, in the fifth obstruction, Leth creates a deeply personal version of the film, using himself as the subject and exploring his own creative process and emotions.
Overall, Leth copes with each of the obstructions in a unique and creative way, demonstrating the power of artistic constraints to inspire innovation and imagination
What is the effect on the movies he produces?
The effect of the obstructions on the movies produced by Jørgen Leth in “The Five Obstructions” is significant. Each obstruction challenges Leth to think outside of his comfort zone and to approach his filmmaking in new and unconventional ways.
As a result, each new version of the film is radically different from the last, revealing new insights into Leth’s artistic vision and process. The films become more experimental and creative as Leth is forced to work within specific constraints, such as the limited number of frames in the second obstruction or the absence of a set in the fourth obstruction.
Additionally, the obstructions challenge Leth to question his own artistic assumptions and confront the limitations of his own creativity. By exploring new approaches to storytelling and filmmaking, Leth is able to push beyond his own artistic boundaries and create films that are more imaginative and innovative.
Overall, the effect of the obstructions is to push Leth towards more creative and experimental filmmaking and to demonstrate the power of artistic constraints to inspire new ideas and approaches to storytelling.
Other thoughts cross your mind while watching: