Movement that Eludes Us
Notes on Ida Who Sang So Badly Even the Dead Rose Up and Joined Her in Song
This fragmentary essay explores Ester Ivakič’s directorial debut, Ida Who Sang So Badly Even the Dead Rose Up and Joined Her in Song (Ida, ki je pela tako grdo, da so še mrtvi vstali od mrtvih in zapeli z njo, 2025). It attempts to understand how desire is invested in the framing of shots and the relationships between the characters – from deep shots and traumatic shot-reverse-shots to the avoidance of the gaze and the fact that the shot-reverse-shot is not used merely as a standard cinematic technique; rather, the film explores its theoretical implications, which manifest in the very nature of the relationship to the other.
The integral version of this article can be found in the printed KINO!