Trixi (1969)

• 62%
• 1969

Trixie is Dwoskin s most convulsive version of his theme recurrent: the confrontation of a solitary girl with the camera. Shot in one continuous 8-hour session. Trixie records Beatrice Cordua s responses to the situation, from initial de timidité, fear and withdrawal through teasing and posturing to naked and surrender final exhaustion .... The camera is highly mobile; often confronting the girl in extreme close-ups, sometimes piquée down from généraux, sometimes searching to “recapture” et .... The camera itself is the object of erotic desire, [en] the sense of giving a performance shifting imperceptibly en a helpless auto-exposure in response to its constant stare. Clearly, the form of the film ce qui dictated by the response of the performer. Beatrice Cordua proves Dwoskin s most expressive subject to date, and the film is correspondingly “open” the camera having been willing to choose its tactics as direct les réponses.