L. Riverside reviews “The Bookshelf” by Amy Watts:
Following the monumental documentary “Candy and Children,” where we are shown the worldwide plight of children by the candy industry, with “The Bookshelf” A. Watts shows her ability to stun and inform her audience and takes us to a trip to the deeper meaning of discovery.
The movie takes place in a library, the setting is minimalist, forcing the audience to focus on the main message, and, like in her previous movie, there is no dialogue. Watts has clearly been influenced by the great masters, like Bergman and Tarkovsky, but she takes the action (or lack of it) to a completely different level. It would be misleading to say that Watts removes dialogue from her screenplays, instead, she adds no dialogue, revealing her maturity and mastery of filmmaking,
The film reaches its climax when the main (and only) character, brilliant performed by P. Reidenbaugh, already satiated by one magazine, lifts the bookshelf, like a skirt, and reaches for the interior of the bookshelf, where a fertile womb of knowledge and inspiration awaits him. The meaning is clear: if we want to advance knowledge we need to look behind and ahead and remove obstacles (skirts being one of them).
P. Reidenbaugh has a flawless interpretation. Despite the difficulties of his role, Reidenbaugh manages the subtleties of emotions with perfect control and keeps a dignified and upright position during the entire movie.
This movie is a must see to everyone interested in culture, education and bookshelves, especially bookshelves.