- Followed by a Q&A with the filmmakers and Camille Bourgeus
- In collaboration with Auguste Orts
Excerpts of texts by psychoanalyst Marion Milner (1900-1998) on concentration, the body, repetition, daydreaming and open-ended time as conditions for creation are read and reflected upon by different artists. These voices and the silences between them, images of a seascape in Norway and of the artists’ workspaces, as well as sounds from the Norwegian coast create parallel spaces, each following their own rhythm. The resulting experience of time resonates with Milner’s idea of leisure: not a moment opposed to work, but a time allowing us to perceive and think freely without an immediate objective.
In times of great turmoil, time comes to a standstill. The central two movements in For Now are panoramic shots and firm, vertical edits. They show shifts of place without the journey. Nature, the wind, movement occurring on its own: this seems to be the film’s real subject matter. The film unfolds in waves. Locations appear, disappear, and come round again – Lewinsky Park, Maximilian Park, Habima Square, Lion Square, Zuccotti Park, Times Square or pastoral landscapes at opposite ends of the Mediterranean Sea. The actions are the same: people wait, pass by, kill time. The contrasts between refugees and citizens, tourists and activists, Israelis and Palestinians, Europeans and Americans: all become less clear. The repetition of these blurred relationships, Asselberghs’ decision to film after the fact, the enigmatic inclusion of hand signals – all these work together to reveal a distinct constellation in which things come together momentarily before taking their leave. It is a film running alongside events, alongside time. A contemporary film in the pure sense of the word – a way of being with time.
For Now is also a publication.