En la ciudad blanca

We actually have two axolotls here, one conditioning the other, and together they form two sides of a great film. Bruno Ganz as a deserter from his naval duties, as an emigrant from his true homeland, tries to anchor himself in a new country. At sea, there is only a tiny chamber and infinity beyond it, while on land, it might be the opposite. Love is also infinite, and furthermore, "the female body is so wide." However, the axolotl, "disturbing time and space with its silent indifference," disturbs him both at sea (here it is necessary, which is why we can speak of an occupational illness that our hero has inevitably transferred onto land) and on land (the Mexican axolotl is an amphibian...). Love also needs time and space. The other axolotl is the film footage shot by Ganz, which, with its melancholic silent beauty, is not only a reflection of its creator but also a great intermediary between the unity of form and content achieved by Tanner in this film. (19.10.2014)