whose reputation usually commands a millions-of-dollars fee — took part in the project for free, as a fan and frequent collaborator of Yorgos.)
These visitors funnel out onto the open, wind-weathered topography leaving the woman alone with the body of a man —— who we imagine is her former lover. Having gorged on cookies, artichokes and black olives, she observes the lifeless body and, for reasons unbeknownst to the viewer, mounts him, conducting a strange act of forced, posthumous cunnilingus as she licks the face of an effigy plastered to the wall. If you look close enough, it appears to resemble Emma Stone’s character herself.
What ensues is as obscure as the set-up; a strange and indecipherable mood-piece. It feels, in terms of its uninhibited audacity , like his earlier pre-studio work. Graphic and gorgeous, a test audience’s nightmare, in many ways it doesn’t command a clearer meaning. And if you’re looking for Yorgos to tell you it, then tough luck.
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