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Five distinct cities across the world become the backdrops for a series of spiraling tête-a-têtes in Heinz Emigholz’s ambitious and surprisingly funny film, which moves him ever further away from his documentary origins and into the realms of the uncanny. John Erdman and Jonathan Perel, who appeared in Emigholz’s magnum opus of psychoanalysis and architecture, Streetscapes [Dialogue], kick things off as an archaeologist and a weapons designer discussing war and depression in Israel’s industrial city Be’er Sheva. From there, Emigholz introduces an expansive roster of deadpan performers in dual roles (including Young Sun Han, Dorothy Ko, Susanne Sachsse), interacting in Athens, Berlin, Hong Kong, and São Paulo, and wrestling with issues such as war crimes, racism, family, religion, sex, and cosmology. As Erdman, Emigholz’s surrogate, says, it’s a film of “social taboos, the paradoxical logic of dreams, an infinite round dance.”
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