When audiences consider 3D as a medium, the abiding image seems to be of items popping out from the screen — a limb here in “Jaws 3D,” a dildo there in “Jackass 3D” — and perhaps that is indeed how…
Though undoubtedly a powerful confrontation with some of the biggest themes art can tackle — mortality, permanence, being, nothingness, all the hits — “Anselm” remains an accessible experience, partly because of its manageable 93-minute runtime and partly because of its endlessly engaging imagery. There’s no reason any reasonably curious audience shouldn’t be able to switch on to its considerable pleasures.
Structurally, the film’s organizing principle is a series of explorations of Kiefer’s artistic preoccupations during periods spent in different studios, but this isn’t rigidly imposed. With a lyrical lightness of touch, seasonal change also marks the passage of time, conjuring a temporal sense more cyclical than linear. Time here is the fourth dimension: While the 3D visuals grab your attention immediately, “Anselm” is a film deeply concerned with chronology and memory.
The crisp 3D 6K footage through which this is all realised isn’t merely decorative or showy, but so sharp and photoreal as to make the viewer swear they can feel warm sunshine on their skin, or inhale the fresh scent of furniture polish; you positively itch to run a curious finger along the gilded edge of an ornate picture frame.
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