PHANTOM LOVE – Review by Marilyn Ferdinand

Phantom Love weds director Nina Menkes’ intrapsychic world with the formal innovations pioneered by surrealist artists and filmmakers of the first part of the 20th century, particularly the films of Luis Buñuel. Like Buñuel. Menkes populates her film with a variety of animals—an ant, bees, an octopus, some tetras, two Great Danes, a cat—but not in the absurd ways employed by the Spanish-Mexican director. Rather, Menkes has said that the images came to her while working with a psychic healer, and her familiarity with Jungian psychotherapy helped her accept and integrate the irrational elements of her unconscious into a film that reaches beyond mere character development.

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