Cinema, sometimes, is able to perform miracles. When at the dawn of the seventh art, at the end of the 800th century, a gigantic locomotive appeared on a large screen that seemed to want to head towards the spectators, few were able to foresee that those images, that sequence, would constitute one of the fundamental pillars of that which will later be called "the seventh art". The miracle takes place precisely in the cinematographic essence, in its intrinsic nature: making immanent what is sometimes absolutely transitory, occasional, ephemeral. The images engraved on the film, or translated into bits as happens in the digital world, leave an almost indelible mark and, even more so in the age of the web, they spread and extend their content and their dimension beyond measure. The miracle, from an audiovisual point of view, therefore takes place, takes shape exactly when it manages to combine a volatile artistic expression with a stable, permanent one.
This is the case of Le Renard Bleu directed by Partel Olive made for Kenzo. The film, which lasted 20 minutes, corresponds exactly to a reading of cinema as an expressive possibility in what is commonly defined as "gender contamination". In this case, suggestions, visions, expressions related to music, dance, theater are mixed in an effective and convincing way. These same expressions, especially the ballet, are in turn contaminated where they seem to refer to the Orient in its most extensive representation, from the neighboring Arab mode to distant Japan. The direction convincingly underlines faces and paintings which, by themselves, hold the thread of the story. However, there is a limit in the expressed, declared will to underline an exaggerated symbolism, a search for a chromatic effect, for aestheticism that is too much for its own sake. Of course, it is still a film operation that starts from a commercial drive: Kenzo must first of all sell products and it is known that, at times, the brand alone may not be sufficient to withstand increasingly fierce competition (see the experiences of other its competitors, such as Gucci). However, we welcome a further stimulus to make cinema an art that has now extended beyond traditional boundaries, in genres and in the ways in which it can be enjoyed.
https://m.youtube.com/watch?v=roYnxEjf9CE
