"Sync" is a short video by conceptual artist Marco Brambilla (AKA the director of "Demolition Man" and Kanye West' "Power" motion painting video). It was released as a part of anthology film "Destricted" in 2006 and holds the questionable glory of being the most interesting piece of the bunch from the formal standpoint. It is an expirement that manages to make its point and entertain in the same time.
In its core "Sync" is an exploration of a love story. To be exact - it is about culmination of a romantic relationship in moving arts - a love scene. It is intentionally generic. Predictability of scenario makes it easy to follow. And that's the point. It is derivative and formulaic because it works. The way it is made makes it substantially different from the other depictions and brings it to the new level.
"Sync" is compised of thousands of little pieces from different movies, mainstream and adult, edited together at incredibly fast rate (you can even spot a frame from Peter Greenaway's underseen "Pillow Book" in the beginning) to form some sort of ultimate love scene. It is defamiliarized catalogue of various elements that constitute typical love scene. Nevertheless because of use of match cuts and rhythmic montage - it is coherent and cohesive. Another important detail is that it is accompanied by elaborate drum roll that ties it all together, underlines and organizes what is going on beat by beat. Drum roll guides the viewer. It builds tension and expectation - but ultimately it fizzles out to nothing.
Needless to say it is pointless to identify what bit comes from which film. You can do it but it will distract from the real thing. It is designed to be familiar but intense enough to cause sensory overload to the point it makes no sense to perceive it as it is but to interpret it (cue "It's all too much" opening twang). "Sync" unleashes an avalanche of similar bits matched together into a seamless stream. Technically - it is a supercut. "Sync" is divided into clusters - kissing, hugging, carresses, intercourse in various positions, body detail shots, orgasm reactions, cumshots, etc. But there is no immersion. It just slides on top. The many images add more of the same to the point heavy juxtaposition oversaturates perception and turns it all into abstract stream of samples in a new composition that tells vastly different story. While watching you can't even notice what is really going on. There is a catch. Several parts of the video are repeated almost beat by beat by different frames from the same scene and at some point the whole thing seamlessly starts to move backwards ending on the same frame from the "Pillow Book" it started.
"Sync" is compised of thousands of little pieces from different movies, mainstream and adult, edited together at incredibly fast rate (you can even spot a frame from Peter Greenaway's underseen "Pillow Book" in the beginning) to form some sort of ultimate love scene. It is defamiliarized catalogue of various elements that constitute typical love scene. Nevertheless because of use of match cuts and rhythmic montage - it is coherent and cohesive. Another important detail is that it is accompanied by elaborate drum roll that ties it all together, underlines and organizes what is going on beat by beat. Drum roll guides the viewer. It builds tension and expectation - but ultimately it fizzles out to nothing.
Needless to say it is pointless to identify what bit comes from which film. You can do it but it will distract from the real thing. It is designed to be familiar but intense enough to cause sensory overload to the point it makes no sense to perceive it as it is but to interpret it (cue "It's all too much" opening twang). "Sync" unleashes an avalanche of similar bits matched together into a seamless stream. Technically - it is a supercut. "Sync" is divided into clusters - kissing, hugging, carresses, intercourse in various positions, body detail shots, orgasm reactions, cumshots, etc. But there is no immersion. It just slides on top. The many images add more of the same to the point heavy juxtaposition oversaturates perception and turns it all into abstract stream of samples in a new composition that tells vastly different story. While watching you can't even notice what is really going on. There is a catch. Several parts of the video are repeated almost beat by beat by different frames from the same scene and at some point the whole thing seamlessly starts to move backwards ending on the same frame from the "Pillow Book" it started.
By reiteration of generic elements "Sync" manages to dissect the way love scenes as a concept are stripped of its original emotional substance and thus commodified, banalized and standardized. It is a critique of cliched and lopsided depiction of a love scene which is devoid of engaging specifics. It is a showcase of genericism for sake of a cheap pop. In that way "Sync" is a story of how content submits to easily digestable bland form and thus renders itself unremarkable.
And that is truly horrifying.
P.S.: Just in case if you're wondering - here's the list of film i've identified in no particular order. There is definitely more:
- Pillow Book 1996
- Moulin Rouge 2001
- Dressed to Kill 1984
- One Night Stand 1997
- Ninth Gate 1999
- Solaris 2002
- Leaving Las Vegas 1995
- Sin City 2005
- Urreversible 2002
- Crash 1996
- Showgirls 1995
- When I will be loved 2004
- Lost Highway 1997
- Last Tango in Paris 1972
- Quills 2000
- Altered States 1980
- Cape Fear 1991
- 23 palms 2003
- Possession 1981
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