Delirium (2013 film)

Were written six completed instrumental parts, named according to the sections of the Latin mass: Dies irae, Quantus tremor, Mors stupebit, Ingemisco, Tuba mirum, Lacrimosa.The music does not contain direct illustrations, and, in particular, thanks to avant-garde style techniques, paradoxically combined with names, appealing to the surrealism principles, which fully corresponded to the aesthetics of the film.Thanks to this, the initial and final musical fragments acquired additional dramatic significance: an introduction to the "problematic" of the film (the effect of tuning on the corresponding aesthetic "wave") and a semantic generalization.Like in his first film Las Meninas, Deliriu appeals to the intricate family sagas, which appear in the novels by Witold Gombrowicz, Milorad Pavic, and Bruno Schulz.Unlike the sagas Luchino Visconti (The Damned) or Ingmar Bergman (Fanny and Alexander), Podol'chak avoids narrative but everything happens outside the space-time continuum with a focus on psychological states.Developing the themes set in his first film Las Meninas, Podolchak in Delirium somewhat modifies the "family" structure - introduces into the hermetic nightmare the "other" character - the person from the side.But this "stranger" (the main character is the Psychiatrist, a kind of heir to the narrator from The Fall of the House of Usher by Edgar Allan Poe) shows himself not as an alien body.But unlike the films by Wise and Amenabar, in Podolchak's Delirium the spectator encounters the concept of "erroneous suspense" when the director seems to create an atmosphere of anxious anticipation, but these premonitions of something terrible are being destroyed by the characters' inadequate reaction on them.