ABSTRACT
Jonathan Demme's auteur film Rachel Getting Married did not encounter the viewership it sought. History swept it away and exposed the film to misunderstandings and readings against the grain from the very day of its release. The interracial and intercultural character of the festivity emphasises the progressive mindsets of the protagonists. The cinematography and the montage also seek to highlight the diversity of the human factor. The ceremonial sequences record a large palette of faces, haircuts and bodily expressions, explored by an inquisitive hand-held camera probing for the authentic. Kym is excessive, abusive, manipulative, ill-spoken, destructive, self-concerned, and a disintegrator of social links and a desertifier (or pollutant) of human relations. Buchmann's ideological camouflage is impressive. His wealth, his status as general employer and his location in a rich Manhattan suburb notwithstanding, nothing else in his presentation betrays his downtown persona. The Manhattan money-maker is inconspicuously disguised behind an effeminate, non-corporate and non-authoritarian appearance.
