Limite (1931)

Undeniably a cinematographic achievement. Beautifully captured angles of nature and objects, imposing upward shots insinuating tension, and layered images of great symbolism. There is a profound aimlessness which strings together the different images, complemented by captivating dream-like flashbacks. Water is used as a multi-faceted symbol: as a reminder, as a representation of an insurmountable expanse, as an imposition of hopelessness, as nature’s melancholy. We often observe the past of these subjects behind an object or hidden behind a corner in these flashbacks, like voyeurs. Some shots focus in deeply on inanimate objects, others capture nature at the mercy of the wind. We inherently compare this monotony against the entrenched bleakness of a boat drifting aimlessly across the water, and yet, their pasts already reflect the listless uncertainty that is already present on the boat. Limite is certainly beautiful in many ways, but its random incorporation of varied shots does make it feel purposeless at times.