Concerning Blueman

He is a strange creature: a friendly golem, an awkward trickster, a mute buddy.

Blueman literally paints the world blue.

Where he appears, there is a feeling of strangeness. Because Blueman irritates each perception and, at the same time, invites you to form a relationship with him. You can reject or accept this offer – anyway, he demands you to make a decision.

Therefore, the film that documents Blueman’s tour throughout the world proves to be less a movie about the anonymous guest himself, but about the people he encounters. It’s a film about the touching moments of humanity that develop around these encounters, independent of the particular places and their distinctive cultural features.

This sensation of being touched is the result of some kind of innocence.

André Kuenzy has invented the blue man and has grown into the character over the years. The only declared interest he relates to it is being able to walk around with a kind of blue magic cap. He neither advertises, nor wants to score points in the contemporary art industry. For him, it’s not about cultural dialogue or even world improvement. He is totally focussed on the quiet adventure of his rambles – and it is good like that.

However, Kuenzy’s innocence knows much more than it seems to. And this innocence disposes of a rare capital: a treasure trove of experiences that has been created in the continuous game of his encounters over the years.

Because this game is formalised. The suit is the prerequisite for Blueman’s existence and limits it at the same time. His voicelessness makes him both vulnerable and strong. These rules and their persistent testing in every approach, every greeting, each food intake and every confrontation with the eye of the law lead to a special form of ritual spontaneity.

This is exactly what captures us about this film that - realised with minimal means - rejects every narrative complexity. The whole world becomes feasible through this man in the colour of romanticism whose bizarre look does not show, but lets us guess its desire. He dances as he stumbles and he looks for love by serving as a motive for photos.

Blueman is one of us. We are feeling with him and we want him to be allowed to continue playing, beyond the film, ageless, worldly wise and lost to the world.


(Martin Heller, 12.2.2012)