“Pink Noir” is a narrative experiment derived from a script that offers numerous formal possibilities. It presents an opportunity for play (fun) through the potential to manipulate space and time inherent in montage. “Pink Noir” is a movie about fucking, pornography, love, obsession, violence, desire and satisfaction. It’s also about a color. And expectations, both of characters and viewers.
As viewers, we are conditioned to expect continuity across cuts, particularly with dialogue. We expect characters to talk to one another and for the progression of dialogue to make sense. “Pink Noir” plays with this dynamic, delivering sparse, cryptic lines––often suggesting but not affirming a storyline––set within a resonant visual space. The characters themselves never inhabit the same frame, though they do occupy a space, style and genre. The visual and sonic form then becomes the vessel for narrative, more so than the speaking characters.
A statement about imagery: once seen, it cannot be unseen, but a viewer may desire to see it again. This process may be one of (deadly) infatuation. Lust, Augustine?
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