Sequenza is an experimental film project by Manon de Boer and George Van Dam (b. 1964 in Namibia) based on the composition Sequenza VIII for solo violin by Luciano Berio.
In Two Times 4’33”, pianist Jean-Luc Fafchamps was invited to play John Cage’s eponymous composition 4’33” twice in front of a live audience in the Performing Arts Research and Training Studios in Brussels. Once, with one single still take, the camera films his execution of the ‘silent’ musical composition, complete with the three punctuations indicated on Cage’s simple line score at 1’40”, 2’23” and 30”, which Fafchamps interprets by striking a timer. For the second performance, and the second part of her film, de Boer cut all sound, interjecting only with the timer’s click at 1’40” and 2’23” and 30” into the 4’33” filmed performance. The camera silently travels in a long pan that begins at Fafchamps, but then moves steadily along every member of his audience and finally travels outside
the studio door to show a parochial landscape at the edge of the city center cut through by telephone wires and animated by wind-blown bushes. Screams of death open Resonating Surfaces on a whitened and scratched film. It is a triple portrait, of a city, a woman and an attitude to life. For the personal story of Rolnik, who is a Brazilian psychoanalyst currently living in São Paulo, involves the Brazilian dictatorship of the sixties as well as the Parisian intellectual climate surrounding Deleuze and Guattari in the seventies. The film is woven through by different themes: the other and the relation to otherness, the connection between body and power, the voice and, ultimately, the micropolitics of desire and of resistance.