Peculiar and invigorating, visual artist Ann Oren’s feature debut “Piaffe” defies easy description — its lead character grows a horse’s tail, for one thing. But it rewards the attention of a committed voyeur, which all proper cineastes and many of our best provocateurs are anyway. The pinched of mind and the humorless need not bother. Invariably more welcome are those who enjoy their senses and perspectives pried open while their heads get a thorough scratching.
Though set in Berlin, this film’s real location is a timid young woman’s expanding view of her world and herself. The power of movies to reveal, arouse and mystify is also very much on Oren’s mind, specifically the eccentric, transformative discipline of Foley artists: sound technicians who bend everyday objects into a new aural reality.
The pharma outfit’s product, an equine-inspired mood stabilizer called Equili, is being sold with footage of a dressage horse in various emotional states. Eva’s task is Foley-ing a piece of film, shot inside a sawdust-strewn barn, depicting the piaffe: a. She tries heels on rocks, boots in sand, swatting a boxer’s glove and putting a necklace in her mouth to get the clack of a horse’s bit.
Within the fantastical realm of “Piaffe,” which Oren co-wrote with Thais Guisasola, lies a cheeky nod to the horse’s importance to film history, but also to the
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