Quite a while ago, I watched Summer of Goliath (2010) by Nicolas Pereda, a hugely interesting slow-film director from Mexico. Pereda is not only interesting because of the aesthetics he employs. He is also living in Canada, if I’m not completely mistaken. This means that he always returns “home” for filming. For me, it’s bound to result in an interesting, but also blurred line between objectivity and subjectivity. This isn’t the only blurred line in his films, though.
Pereda is known for his documentary / fiction hybrids. Interview with the Earth (2008), a short film of only twenty minutes, is in no way different from Pereda’s feature films. In fact, it contains material, he later used in Summer.
The opening of the film brought up one desire: to watch all of his films in the successive orders they were released. When I saw the elderly woman with a chicken on her lap, and the two boys – Nico and Amalio – I had the instant need to watch all of his films. I believe that Pereda’s films are closely linked to one another. It’s a bit like Tsai Ming-liang’s films. Every film has a specific link to the following work. You can watch them as separate, individual films, but the overall message only comes through if you watch them in their successive order.
For Pereda, I would say, it is similar, though I cannot say for sure as I haven’t seen enough films. It is only a feeling after all. The title of his short, Interview with the Earth, makes perhaps little sense at the beginning. You can probably figure it out at some point. But the embodiment of the title appeared right at the end of the film, when Nico recorded sound on a cemetery with a boom and a mic. He is quite literally conducting an interview with the earth, though not by asking questions. Simply by listening, an important asset to have as a viewer of slow films.
Compared to Summer, Interview is a striking experience because of its sound. Earlier this year, I wrote about the effects of music and dialogue on the perceived speed of films. I used the context of Apichatpong Weerasethakul’s Mekong Hotel. Pereda made extensive use of music and sounds here. I couldn’t decipher the instruments that were used, but they created a strangely haunting atmosphere throughout the entire film. In the film itself, we learn about the death of David, a boy who fell off a mountain when picking cacti. Nico and Amalio are interviewed about this event, and there’s also talk about sacrificing a chicken, and burying it on the spot David died.
The haunting music underlines the seemingly omnipresent aspect of death perfectly. There was something that made me feel a bit uncomfortable. Nothing grave, obviously. But what does this music represent? The ghost of David? The haunted or even haunting soul of the dead? In comparison to Mekong Hotel the music in Interview did not increase the perceived speed of the film. I’m not entirely sure why. Apichatpong used simple and slow guitar rhythms, which, on their own, shouldn’t have sped up the film. But they did somehow. It’s a curious thing I’d like to explore in more detail one day.
Anyway, Pereda is one of the discoveries of 2013 I’m really happy with. He’s a great filmmaker, and his films are worth your attention.