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In an interview, Abramovic said that at the end of the 6 hours, when she began to move again everyone ran away. They were confronted with her as a person and she seeced being an object to them.

I think it is interesting that people surround themselves with things that make up a kind of performance of the every day. A narrative that is visible to other people in the clothes we wear, the way we talk, our activities etc. It's essential, especially because we use it to make sure others see us how we would like. It is a kind of control and a paranoia and it is never totally stable.

The characters in Anderson's films also feel very controlled in this way, like heightened versions of real people. It is like someone has turned the saturation levels up on an image. Tilda Swinton's character here for example is only know to us as 'Social Services'.

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In my opinion, the Grand Budapest Hotel, along with several other examples of Wes Anderson' work are about trying to hold onto childlike innocence or an ideal that we risk loosing. Like making a 'dolls house' or rigorously tending a garden in order to cultivate something pure and complete.

In real life though I much prefer the idea that beauty is incidental, it can't be prevented anywhere, but neither can sorrow or pain either. We'd better talk about it all over a good cup of tea/ glass of champagne! 

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© Elizabeth Kendal, all rights reserved