A mi me pareció una pequeña tomadura de pelo, una cinta menos trabajada que un vídeo de boda casero.
Stand By for Tape Back-Up
Sobre la película
Plomizo y cargante ejercicio de onanismo a mayor gloria del director. Totalmente prescindible.
Docu que es ma´s original cuando te lo cuentan. Le pesa su tono de paja mental. Tiene sus chispas de lucidez a la hora de reconstruir un pasado, pero aunque seas un espectador paciente y predispuesto a dejarte llevar por su juego tiene instantes en los que te pega su agotamiento. El asma que padece su autor se transmite al espectador en momentos clave en los que al relato le falta respirar.
Uff, a mí me ha parecido apabullantemente somnífera.
"A unique kind of mix-tape performance art-piece (...) a funny and thoughtful running commentary, equal parts media re-appropriation and personal meditation on death, depression, and grief."
"I don’t think it’s going out on a limb to suggest that poet and performer Ross Sutherland’s ‘Stand By for Tape Back-Up’ probably features the most profound use of the opening credits of ‘The Fresh Prince of Bel-Air’ in theatre history. Toss in some extracts from ‘Ghostbusters’, ‘The Crystal Maze’, Michael Jackson’s ‘Thriller’ video and a horrendous 1991 advert for NatWest cash machines that I’d hitherto suppressed the memory of, and you’ve got the recipe for a bums-on-seats Gen Y nostalgia fest. And in a way that’s exactly what ‘Stand By…’ is, but in the most beautifully poetic way."
"Like the strange synchronicity of a dream or the bizarre inner logic of a poem, Standby for Tape Back-Up has an indescribable intricacy which is difficult to put into words. But the patterns duly emerge to make this one of the most accomplished pieces of spoken word you are likely to see."
"Brilliantly pulled off. Standby for Tape Back-Up is at it’s most moving - for this is not pure post-modern, everything’s-a-reference trickery - when what he screens and what he says most closely illuminate his relationship with his grandad, and truly grapple with that very human sense of loss."
"The constraints presented by working so intimately with technology make Standby for Tape Back-Up a spiritual cousin to shows such as Daniel Kitson’s Analog.Ue (which was constructed from pre-recorded audio tapes) or Joseph Morpurgo’s Odessa (an extended riff on two minutes of US local TV news from the 1980s)."