Regie:
Mike FiggisDrehbuch:
Mike FiggisKamera:
Patrick Alexander StewartBesetzung:
Xander Berkeley, Saffron Burrows, Richard Edson, Aimee Graham, Salma Hayek, Glenne Headly, Holly Hunter, Danny Huston, Kyle MacLachlan, Mía Maestro (mehr)Inhalte(1)
Timecode divides the screen into four parts and follows, in four uninterrupted shots, a series of overlapping stories. There's the wife (Saffron Burrows) of a movie producer (Stellan Skarskård) who's considering leaving him; the producer is having an affair with an aspiring actress (Salma Hayek); and the actress is the lover of a wealthy woman (Jeanne Tripplehorn), who jealously plants a bug in the actress's purse when the actress pretends to go to an audition. Meanwhile, the producer's partners and employees (Holly Hunter, Xander Berkeley, Steven Weber, and others) are trying to cope with the producer's increasing instability. There's a drug-dealing security guard; a dim massage therapist; a temperamental director who can't find the right actress; and assorted other Hollywood types who float in and out of the action. Earthquakes and aftershocks shake things up, a lot of cocaine is snorted, and there's some sex and some violence, all improvised by the actors around a story set up by the director, Mike Figgis (Leaving Las Vegas). (Verleiher-Text)
(mehr)Kritiken (2)
Ein bemerkenswertes Film-Experiment. Der innovative Mike Figgis hat für dieses Werk Lob verdient. Falls Sie aber eine Unterhaltung, Emotionen oder Adrenalin suchen, schauen Sie sich einen anderen Film an.
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The world is accelerating, the quantum of information is growing and time still passes. The result is a greater volume of stimuli that we are forced to receive. As four films in one, Timecode saves us time on the one hand but, on the other hand, its form practically makes it impossible for anyone to take it all in during a single viewing. The confusing overloading of the image is complicated by the soundtrack. It occasionally took me a moment to figure out who was talking and whether the music was diegetic or non-diegetic, intended solely to “harmonise” all four shots. The film works surprisingly well on the emotional level. The story of several people from the film industry abounds with familiar faces and even good actors, and clarifies the chosen form. The role of the screenwriter is called into question directly in the characters’ lines, there’s a presentation of the digital camera and the biggest problem of those being monitored consists in the emptiness of their lives. They search in vain for meaningful content and try to escape from superficial relationships. And even if the content is completely stupid and uninteresting, I can’t help but be amazed by the fact that Figgis managed to put together something so seemingly complicated. 80%
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