OVID, NEW YORK is an anthology film based on the narrative poem Ovid’s “Metamorphoses” that is divided into seven chapters. The films all are similar in style and thematic content, but vary in tone. Some of them are humorous, some of them are unsettling, others are somber and pensive. Each of the seven chapters of this anthology are told in a very cryptic but artsy manner. It made me think of the dreamlike films of David Lynch. The chapters all beg to be rewatched, and are probably a bit easier to understand if you read the source material.
As a whole, OVID, NEW YORK is really pretty to look at. The color choices for and composition of many of the shots are really aesthetically pleasing. While watching, I could definitely get the sense that the filmmaker is fond of the arts; particularly the visual arts. Not only is each chapter interesting on a narrative and visual level. There are a lot of images that I was left really curious about. I have to wonder if they’re references to the narrative poem that inspired this anthology or if the imagery is specific to the film. I also am curious about its meaning.
Chapter I, The Rippling Pool, opens with a hunter trekking through a winter forest. It’s very appealing to look at, with a lot of very scenic or artful shots, and the story is very surreal and unconventional. The sound design and music for this chapter of the anthology really add to the atmospheric feeling that it gives off.
Chapter II, Still-Life With Dead Flowers and Dead Game, might be the most Lynchian chapter in this anthology. A famous actress tells the story of a vengeful woman and her cheating husband. Her dialogue is captioned, but very poetic and well written. The imagery itself, too, is poetic and very open-ended as to what it could mean. The footage is where Chapter II’s surrealism takes form, as it shows us several different images, which each follow their own narratives, each of which feel pulled right out of the subconscious mind.
Chapter III, Three Graces, is in my opinion, the most humorous of the chapters in the anthology. It opens with a particularly funny bit with two statues and then follows two women who make jokes as they admire various statues of Greek mythological figures. I really like how minimalist and fun this vignette is.
Chapter IV, Figures in a Landscape is a very pensive piece. It gives us a monologue about the birth and ambitious nature of mankind. It is set to somber music and black and white footage. My favorite part of this short is definitely the score, which really takes center stage. It’s really beautiful and accompanies the monologue so well that it brings it to life.
Chapter V, Circadian Hymns: Circadian Hymns is about an entomologist who meets a talking mantis. It’s another film that is really complimented by the filter that has been put over its footage, as all the colors are really appealing to look at. There’s some really great scene transitions and shots throughout this one. The story is really surreal, abstract, and open ended, and even has a touch of humor to it, mostly coming from the mantis character. The film manages to exude an energy that is both charming and unsettling.
Chapter VI, The Pale Cloudless Sulphur is about a struggling vacuum salesman’s stay at a strange motel. In my opinion, this is the most dream-like chapter of this anthology. I came out of it very curious about the meaning of the various images that we see throughout it.
Chapter VII, The Fall follows two ferrymen of the afterlife, who demand exact change and bicker about their work. It’s a humorous, dialogue driven piece, shot in a gorgeous location. I enjoyed the way the banter between the ferrymen was written. There’s a very casual, ad-lib like style to it, that made me think back to Three Graces. However, The Fall has its own unique poetry to it that really distinguishes it from Three Graces.
-Madelyn, Filmmaker Mixer Correspondent
For more information about Vito A. Rowlands, Director of OVID, NEW YORK, please visit his website. Link below: