After months of work, the very first issue of The Art(s) of Slow Cinema magazine is now available for pre-order via tao films. It’s thanks to Daniel Fawcett and Clara Pais that I have finally made the move towards my own journal. It’s been thought of for years, but I had never actually had the guts to do it. Now, after six years of blogging I’m happy to welcome the first paper version of The Art(s) of Slow Cinema into the world.
With a cover designed by Swedish filmmaker and artist Sebastian Eklund, the magazine comes in A5 size and is 84 pages strong. It comes with a professional fastback binding. I’m super chuffed to have wonderful people on board.
Filmmakers Aleksandra Niemczyk and Sebastian Cordes write about their approach to film, and give you an insight of the behind-the-scenes of their films Centaur and A Place Called Lloyd respectively.
Daniel Fawcett and Clara Pais reflect about the state of cinema in the 21st century, to which Maximilian Le Cain responds in a separate essay.
Catlin Meredith from Her Head in Film writes about the meaning of home in Yulene Olaizola’s Fogo, which we are streaming on tao films.
Myself, I investigate the aesthetic of absence in the films of Lav Diaz.
All of this, and a 20% discount of your tao films subscription, can be found in the magazine.
In order to keep possible financial losses at bay, I will collect orders of twenty magazines before they go into print and are then shipped. It’s a sort of on-demand service, which allows me more flexibility and avoids financial hassles. In the end, we must not forget that this is the first issue and I have no clue as to how successful this will be. I’m taking it safe 🙂
International shipping is available, of course. The price is 10€ for the magazine and 6€ for shipping. Shipping from France is pretty expensive. I wished I could offer it for cheaper, but it’s sadly not (yet) doable. Maybe I’ll have found a better option for issue 02.
As soon as the first batch of magazines is ready for shipping, a shipping date will be communicated to each buyer individually. I’d be eternally grateful if you could spread the message, in whatever way possible. And, of course, if you have any questions about the magazine, do drop me an email: email@example.com
My thanks goes to all contributors and supporters. This magazine wouldn’t have been possible without you!
It seems as though Chinese director Wang Bing gets better and better. Each film improves on the previous one, and with this I don’t mean that he improves on his aesthetics. Wang Bing stoically, stubbornly continues to pursue his traditional aesthetics, which means nothing more than that he simply films in whatever way necessary or possible. His films are not about beauty, about photographic framing, about characters walking towards a horizon and returning (see Béla Tarr). No, each of his films instead dives deeper into Wang Bing’s overall aim of telling the story of his country, of (re-)writing China’s official history. His films are like lengthy books à la Dostoievsky or Tolstoy, using the entire span of 900 pages or more to create a fundamental piece that outlives a single generation.
His previous film, Mrs Fang (2017), had already been an astonishing film, an important cinematic exploration of Alzheimer’s, of our slow death in the face of an impossible disease that doesn’t allow us to go gracefully. The director’s intimate portrait drew controversy. The ethics of filmmaking became an important part in our discussion as critics and cinephiles alike. What everyone was in agreement, however, was that Wang Bing had created something special, something that goes under the skin and that is not so easily shaken off.
Dead Souls, the director’s new film, is a monumental achievement. In over eight hours, shot over the course of more than ten years, Dead Souls, too, is an intimate portrait, or rather a collection of intimate portraits that go under the skin, albeit in a different way than Mrs Fang. It wouldn’t be far-fetched to compare the film to Claude Lanzmann’s Shoah. On the contrary, one could go as far as arguing that Dead Souls was the Shoah of the 21st century. It’s difficult to explain in words. Both films need to be seen in parallel in order to see the similarities. Yet, I don’t want to place too much emphasis on this, because I believe that Dead Souls needs to be, and deserves to be, seen in its own light.
Wang Bing has always used film in order to tell untold stories. His films, shot without official approval and without treading the official way of making films, i.e. submitting scripts for approval with a final censorship part at the end, fill in those blanks left by history books that merely tell the heroic parts of a country that is fascinating and scarily powerful and dangerous at the same time. History is used to form a common basis for national identity. History is always written by those who have fought and won a war, those who have heroically fallen into the hands of the enemy during the fight for his/her motherland. It is written by those who have ideological interests, by those who have to justify their gruesome acts.
Every country has this famous skeleton in the closet, and China certainly is no different. They seem to be even more secret about some of their excesses than other countries and those “black holes” make for a mysterious and frightening atmosphere. Dead Souls pierces this black hole. Wang Bing holds a torch into it to shine light onto the plights of hundreds of thousands so called rightists, people who have, in the eyes of officials, not been supportive of the movement, or have even been critical of the government. It was the late 50s, and there was a broad sweep particularly against intellectuals. Jiabiangu, the name of the camp complex, where people had been sent for re-education, has hoovered over Wang Bing’s work before. His film He, Fengming was part of his ongoing effort to collect testimony about the period. And so was The Ditch, a failed feature film that aimed at showing what life in the camps was like.
In Dead Souls, Wang Bing returns to his way of filmmaking which he had used for Fengming. This means that what mattered most to him was the recording of testimony. He put the camera on his lap, on a table, somewhere stable (or not necessarily) in order to record a person’s memories of the time. “I am a former nationalist. I had to re-educate myself and adopt communist thought.” This is how Wang Bing’s new film begins. Zhou Huinan, 85 years old, speaks about the time when people had been encouraged to criticise the Party. It was a cunning way of the Chinese government to lure people into the trap that would kill hundreds of thousands in a form of auto-genocide that resembles measures takes by the Khmer Rouge in Cambodia later on, or which the Stalinist rulers undertook twenty years ealier. Zhou Huinan’s fault was his criticism of the lack of democracy. The result: a lengthy period at a camp, in which people died slowly in front of him of starvation. Sitting on a bench next to his wife, who visited him several times and who struggles to make herself heard in front of the camera, he seems a proud man, someone who has put the events behind him. He mentions his brother, a highly intelligent man who had been tasked with evaluating already validated town plans. He had been promoted several times, before he, too, was taken to a camp.
A harsh cut brings us into a completely different world. Despite his age and his experience in the camp, Zhou Huinan still embodies life. On the other hand, his brother, Zhou Zhinan, 82 years old, is a shadow of himself. Wang Bing films him in bed, suffering, dying, and tries to get a testimony. This very scene, painful and heart-rendering, hearing the whispers of a once strong man, is essential for the rest of the film. After a rather brief testimony, Wang Bing cuts to Zhou Zhinan’s funeral. In a lengthy sequence of scenes, we witness the burial of the man we had seen earlier, his son struggling with accepting the death of his father. Several times throughout the film, the director notifies us about the passing of those he spoke to. What this creates is a sense of urgency that wasn’t as clear in Lanzman’s Shoah. When I watched Lanzman’s opus, I had the feeling that the director had time for his project. Those he interviewed were elderly, but not yet on the threshold of death. With Wang Bing, this is different.
Dead Souls is an urgent film. Testimonies of men aged over 90, as is the case with Gao Guifan (97) who, filmed with a shaky handheld camera, says little else than “It’s the end. I want to die as quickly as possible. Dead, I’ll suffer less,” are common and one feels the director’s desire to get those testimonies on record in order to allow their voices to live on. Men eating human flesh, men cutting open the dead in order to collect the intestines and eat them, a father killing his eldest daughter so that his family could eat and therefore survive a little longer (this story is based on a rumour one of the men heard), men turning into animals – all of this must not die with those victim-survivors.
“You lose your humanity.”
“It had become banal to see dead people.”
“People no longer resembled human beings.”
Many of those Wang Bing speaks to go into a lot of detail of their ordeal. It becomes a collection of sort, but there are certain phrases that cut into you like a knife, and it’s those that will stay with you. The aim of turning humans into non-humans, of letting them slowly die – “People didn’t go in excruciating pain, they slowly passed away,” says Gu Huimin, 84 years old – is the most evident characteristic of a concentrationary system that has sadly found its application in so many parts of the world. China is no different, but China refuses to acknowledge the existence of those camps and the unnecessary deaths of innocent men and women.
The people the director speaks to are different in the way they have dealt with their past experience. Or perhaps, they are still traumatised and what they have endured and seen has broken them forever. Lao Zonghua, 75 years old and interviewed in 2010, reminded me of Bomba in Shoah, the man who smiles all the time. Lao Zonghua became almost uncomfortable to watch with his persistent laughs about the terrible things he has experienced. Is he one of Wang Bing’s dead souls?
Or are the dead souls those who Wang Bing and survivors look for in the desert? As in Lanzman’s Shoah, those who survived return to the place where everything happened, only to find almost nothing left. Nature has taken over. What’s left are bones and skulls. One doesn’t need to dig in order to find them. They’re there for everyone to see. An open secret of China’s brutal history. Just like Lav Diaz in his eight-hour film Melancholia, Wang Bing becomes an archeologist here. He uncovers, he unearthes. In discussions with survivors, in visiting the place of a silenced auto-genocide to record what is left. Every little helps to piece the country’s unwritten, and yet certainly essential history together for future generations who must know about this, and who, hopefully, take their government to account one day.
“If we’re alive today, it’s at the cost of your lives.”
“Only death could have ended that suffering.”
Zhao Tiemin is visibly angry at what he had been put through. He is the first in the film who speaks without questions needing to be asked. Wang Bing intervenes rarely, letting Zhao Tiemin take over. His testimony is interesting not only regarding its content, but also in the way it is given; openly, freely, without fear, but with a lot of anger. Others, such as Zhao Binghun, are more reserved. This particular man reminded me of my grandpa who felt uncomfortable answering questions about his past and who had initially responded in short sentence to all my questions, followed by “And what else do you want to know?” There is hesitation. Can I say this? Do I want to talk about this? There is, of course, shame and the fear that the memories, if spoken about, become to vivid and painful. Chen Zhonghai, 85 years old, remembers having lied to a fellow prisoner who asked him for a bit of roasted flour. He told him he didn’t have any, a lie. It was about his own survival. The other prisoner died of starvation. One can see the feeling of shame, Chen Zonghai, sitting on a sofa with a jacket over his left arm and his left trouser leg rolled up, the man has endured since then.
For those who have seen Fengming or even Lav Diaz’s six-hour film Florentina Hubaldo, CTE (2012) it is possibly evident what the director aims to do here. He blurs the boundaries of listener and viewer. Dead Souls is not so much a film to view, but a film to listen to. While the body language of those who testify in front of the camera can certainly be interesting, it is of much larger interest to simply listen, to lend our ears to those who have something to say. Wang Bing’s film gives them a platform for their experiences, for their shame, for their guilt, for their anger. With this part of history having been silenced, so have been the survivors. Film becomes a tool to break this silence and to allow those who need to tell their stories to find listeners. Only then can a traumatic narrative be turned into a normal life narrative and free the survivors.
But what about the film’s title? Dead Souls. Over the course of eight hours, one aspects becomes undoubtedly clear: those who survived, no longer have a soul. They should have helped their fellows. And this is precisely where Wang Bing is going with this. Humans are no longer humans. They struggle for survival. They have been put into situations where humanity, where souls, don’t have a place. In order to survive, one needs to kill one’s soul, one’s human nature, one’s empathy. The men we see in Wang Bing’s film might differ from one another. They are different in the way they give their testimony, different in the way they narrate their suffering, different in how they have handled those horrible experiences. But they share the tragic loss of their soul.
A curious title, a provocative message from director John Mark Ostrowski, whose work I came across for the first time during my work on tao films VoD, where we show his previous film Sixty Spanish Cigarettes. The real film is elsewhere, somewhere else, not here, not now. But where?
A female voice introduces the film. She speaks in broken French, seemingly still learning the language. The voice over, animating the black screen, allows for an almost magical journey. Where will this film go? Speaking in metaphors, the woman uses a poetic language to lure us in. She speaks about love, about the sea, her words inviting us to float with her words, which we use to look for meaning; the meaning of her words, the meaning of the film’s title, the meaning of the woman’s memories.
Music sets in. The black screen gives way to a close-up shot of water. Waves push and pull a large flag, entangling it in a swirl of different currents that make it no more than a toy. It’s defenceless, vulnerable to the surrounding forces. Ostrowski cuts the sound of the water, deafening us, disorienting us, but also guiding us with dramatic, yet minimalist music. A foreshadowing of something elsewhere, something to come, or something that has already been. The flag – an important metaphor in the first part of the film, a symbol of belonging, of identification.
We get to know Sofia, the woman whose voice has led us into the film, and Javier, an elderly man, who suffers from a bad cough, who looks poor, but whose words radiate with power. Javier is a philosopher. He carries around a flag that he found in his grandparents’ house. He assumes that his grandparents attached great meaning to this flag, so he kept it. But “My flag, my own flag, I don’t know what it is,” he says. Instead he tells Sofia that everything is the same everywhere, yet one always makes one’s own out of what one loves. The almost intimate, very open conversations between Sofia and Javier are special. They add a counterpoint to the film’s long takes, bring substance to them. “We all come from the same womb. I don’t consider myself white, or black, or yellow. I consider myself human,” Javier says.
Ostrowski surprises when he introduces a third character, Pablo, Javier’s son. Sofia has a lightness to herself that contradicts the seeming heaviness of Javier. The Fisherman’s Guild, where they stay, makes him heavy, makes him suffer. “I can’t breathe. It’s a struggle.” He’s slowly dying, slowly wasting away. His own place, that where he is from, causes pain. It wants him to leave. There is a palpable gentleness between Sofia and Javier, an intimate relationship based on mutual (non-sexual) love. The role of the human soul plays an important role here. Ostrowski is showing soul mates, two people who speak the same universal language.
After Pablo’s unexplained disappearance, the film takes a more sombre tone. The lightness, the philosophy – everything has lost its meaning. Instead, Ostrowski’s film turns into a haunting ghost that weighs heavy on the two characters. There is an attempt at continuing, but one can feel, as a viewer, that something has changed. The film isn’t the same. It is mourning Pablo. It is mourning Sofia. It is mourning Javier. At one point, there is hope. Sofia notes that Pablo had been seen playing the guitar in the streets. We will never know. What we witness instead is the cut of the gentle ties between Sofia and Javier, a birthday present for the latter, heartfelt, but also a farewell gift that bares too heavy on the man who struggles breathing in this damp surrounding in the Fisherman’s Guild. Metaphorically, literally.
What remains in the end are traces; traces of an incredible lightness, of thought-provoking conversations, of two characters that have shared a bond. What remains are the traces of a film. Elsewhere.
It took me much longer than usual to write my new blog post, which is primarily down to health reasons. An inflamed elbow could, in theory, be a blessing if you want to see films. What do you need your arm for? The problem was that Ì couldn’t take notes over the course of three hours, as it would have been the case with my very first Angelopoulos film. I had to give my arm a rest, all the while trying hard to progress with The Art(s) of Slow Cinema magazine, which is almost, almost, very nearly done!
There isn’t always a particular reason for why certain directors are not yet in my A to Z list. Theo Angelopoulos, from Greece, is one of those filmmakers that have been named in the context of Slow Cinema pretty much from the beginning. Yet so far, I have never written about him. I have been asked about the reasons for this several times before. There has never been anything in particular which made me avoid Angelopoulos until now. Once my PhD took a turn towards the films of Lav Diaz, I felt that I had to focus on those first of all, or on others that seemed slightly similar.
Now, there is something about The Weeping Meadows that I find difficult to put into words, and I’m not even sure what it really is. Let me say it with a screen grab…
This is not only a beautiful shot, albeit it needs to be seen in movement in order to be appreciated properly. The Weeping Meadow is a film, which continues where Andrei Tarkovsky left off with The Sacrifice. In this very film, Angelopoulos is the most Tarkovskian of Slow Cinema directors. All slow films are, in one way or another, put into the context of Tarkovsky’s “sculpting in time” concept. Especially at the beginning of writing about Slow Cinema, the Tarkovskian philosophy was everywhere. This has receded quite a bit in the last two years or so. Perhaps, critics have realised that Tarkovsky itself isn’t as present in most slow films as they had wished for. Of course, Slow Cinema as a genre, or whatever you might call it, is indebted to the work of Tarkovsky, but the Russian director wasn’t the only inspiration. He was a late inspiration that, I believe, helped Slow Cinema reach its fulfilment.
But let’s return to Angelopoulos whose The Weeping Meadow is the first part of the director’s trilogy about modern Greece, a trilogy he could sadly not finish. I’m almost sure that I might create a neologism here if I said that Meadow was a “wide” film. Every scene feels like a deep inhale, visuals that fill and feed your lungs. Do we ever exhale? To be honest, I’m not sure. Meadow felt like a series of inhales, or even one very long, three-hour long inhale. Scenes are wide-angled, and even if the frames are tight from time to time, a delicate zoom out allows us take a breath. Angelopoulos’s visual mark is width more than anything. It is about taking a step back, about taking a look at the wider picture. There is something about the smooth and delicate camera movement and its angles that makes it feel perfectly organic. It certainly is, after Tarkovsky’s Mirror, the most explicit example of Daniel Frampton’s ‘filmind’, which I have mentioned several times on this blog already.
The particular camera movements, which Tarkovsky had used in Mirror, for example when he explored Andrei’s seemingly empty flat, find their perfect copy in Angelopoulos work. Delicate zoom outs or zoom ins, a searching camera that very much embodies a searching person – one cannot deny that Angelopoulos created a major homage to the Russian director. And then there is The Sacrifice, Tarkovsky’s last piece which I considered to be a cinematic theatre play. The entire nature of the setting, of character behaviour, of dialogue – nothing really felt as though the aim of the film was to create a film. Rather, the aim seemed to have been to merge different art forms and their different natures, create a crossover and thereby create something new, or, if not that, showing how similar all art forms really are.
Meadow has very little of a film. The screen grab above, of Spyros, an elderly man – lonely, depressed – who has been betrayed by his son, who fled with his own wife-to-be, is the most explicit statement of it, and the scene didn’t come as a surprise in terms of its aesthetics. It was the fitting culmination of the feeling I had had about the film until then. I’m allergic to films in which actors and actresses stage something from their life, instead of live the role they’re meant to embody. Yet, Meadow falls into another category. The perfect orchestration between wide, observational camera movements and the specific theatre-like play of the characters creates a special cinematic experience, an experience that questions the strict categorisation of art forms and, therefore, also of audiences.
Angelopoulos’ story isn’t extraordinary as such. We follow Eleni, adopted as a young girl by Spyros and his wife, who, at the beginning of the film, flee the Russian Revolution and who return home to Greece. Much later, Eleni becomes Spyros chosen one, but his son, Alexis, runs away with Eleni. The two, always on the run, become a prism through which the viewer travels through Greek history up until the Greek civil war. It is a story that has been told dozens of times, by people from other countries, from other regions, other backgrounds. The theme of seeking refugee during political upheaval is very much the core of the film, interspersed with love scenes that are almost too much. It is a traditional film, with a traditional structure, and yet Meadow is standing out from those classical treatments of love, change and refuge at times of war.
Of course, there are the specific contemplative aesthetics, which help the film to stand out. Without them, the film would have been forgotten by people long ago. Essentially, Meadow‘s downside is its horizontal development. It is a look at the outside of things, at the outside of characters and their lives. Angelopoulos didn’t create a psychological film. He didn’t allow the film to develop vertically, i.e. we never really get into the characters. It is a “surface film”, a piece that stays on the surface, but Angelopoulos covers this weakness so cleverly, so breathtakingly, so rigorously that there is never really a doubt about its power and its strength. I’m certainly looking forward to seeing the second part of the trilogy.
I have one specific sequence in my head, and what it shows and what is said doesn’t get any weaker with time. An elderly tribes man from Indonesia, sitting in his tree house, tells us that it wouldn’t be good to kill bad people because this would only anger the dead person’s family. For some reason, this sequence has burned itself into my memory. Perhaps because of its simplicity, of its plain and simple logic that modern people, especially politicians, have lost or forgotten about a long time ago.
Nikolaus Geyrhalter’s Elsewhere (2000), a fascinating four-hour long-form documentary, is perhaps one of the best films I have seen by the director. Of course, Elsewhere has strong competition. I will never forget the astonishing Homo Sapiens, or the curious Pripyat. Geyrhalter is a documentarian with enough patience to tell important stories, those stories that don’t make it into our field of vision because we’re saturated daily with short-lived story bites that will never stay in our memories. Elsewhere is, however, a powerful example of what time, or rather long duration, can achieve in exploring the world, in exploring life outside of our personal ordinariness, our “normality”, our “modernity”. It allows us to see the wealth around us, the differences, the similarities, in fact everything that makes us human.
Part 1 – January to June 2000
I still remember the 31 December 1999. There was a real hype about it. We would be crossing a magical threshold. Tomorrow would be the beginning of a new century. What would it bring? One thing that was clear, at least on telly, was that no one could tell whether the hundreds of nuclear bombs the world hosts would go off all at once because of a computer error. Excitement switched to anxiety, and it became the more apocalyptic the more time passed.
This is, one must admit, the downside of modern life. It can kill us at any moment, and it can do so faster than any traditional life we used to have before the Industrial Revolution sped up our life beyond something we would ever be able to control. Geyrhalter traveled the world and his film is a look into the past, yet a past that is still very present, albeit at the margins. The director is on the lookout for traditional societies, which do not comply with our idea of modernity and therefore of progress. Beginning in Niger, with the lives of the Tuareg, Geyrhalter stops in 12 different regions of the world to show us what has been and what still is. Niger hosts around two million tuaregs. They live in the desert, in vast empty spaces that many would deem hostile. The colours are beautiful, and Geyrhalter’s low-angle camera allows us to get down to the same height as several actions we see. The Tuareg sit on the sand, on stones, or they spend their time traveling on their dromedars. It’s not often that we see them stand up or walk. The most impressive images, to me, are those of low-angle stillness or movement. Three women sit int front of the camera, speaking about the difficulties women face when bringing up children. “They’re hungry all the time,” they say. Only when they grow up do they become useful. A man is afraid that the bush will one day no longer feed the people and that the Tuareg would have to move into town in order to survive.
It’s those interviews, sometimes snippets, that are particularly intriguing in Geyrhalter’s film. He does not simply film what’s in front of his lens. There is an interaction apparent, and there’s no intention hiding it. In Namibia, one hears the interpreter in the background. The presence of the other is not cut. It’s supposed to be there. In Ombivango, shown in beautiful long shots, a man tells us that his job is examining court cases. He tells us that it’s important to prevent the destruction of the environment and that poachers need to be prosecuted. There voilà, the documentary becomes a reminder, perhaps a lesson that we should learn from those who live with the resources they have, knowing that one cannot live on credit, especially not when it comes to natural resources. An inconvenient truth? Maybe, but Geyrhalter doesn’t create an openly environmentally-friendly documentary. This wasn’t his aim. The aim was to observe tradition, and observation is an essential part in a longer, a slower learning process. Elsewhere is an invitation to observe and to learn, to remember what we have forgotten.
The vast landscapes in Namibia and Niger are juxtaposed with vast landscapes in Greenland and Finland. Reindeer herding and seal hunting – it is here that modernity and tradition clash. A snowy landscape, at night. It looks and feels like the middle of nowhere. But there is a petrol station, a view one would perhaps not expect high up in the north, the farthest north of Finland, far off human civilisation. Civilisation – that are hundreds of reindeer that need to be looked after. Hansa, one of the few Sami people who can still live off reindeer herding is detached from society, but merges with his wintry environment. He becomes one with it. As do Otto and Asiajuk, seal hunters in Greenland, who tell us about the way their work has changed because of Greenpeace activism and Brigitte Bardot. The macro clashes with the micro, the seen with the unseen, unheard, the international with the local. Everything affects everything. This is why sorcerers in West Papua, Indonesia, we are told, are no longer being killed. They are “sent to town”, villages which white men have built in order to settle there. The magnificent tree houses the tribe builds with simple means are mind-blowing. And yet, one wonders when the white men, who live next door, will come too close to this part of simple and traditional life that has survived for centuries. Further south-east, in Australia, the Aboriginals tell us that they want to keep their identity, all the while adopting parts of “white”, or European (as they call it) modernity. And so, while we witness traditional dances, bush fires and hear about circumcision rituals, Aboriginal boys are seen glued to a television over a video game. It seems like we’re witness the merging of two disparate worlds, two opposing times.
Part 2 – July to December 2000
July opens with a beautiful shot in India. A woman hums while preparing tea for everyone. It’s difficult to guess her age. She seems radiant, content in her surrounding. “We should all try to live together in peace,” she says. To her, it’s important to share things with others. It all started with an argument in the village about water. Now, she shares everything she has with everyone. Making up for mistakes in her previous lives, she says.
What characterises the second part of Geyrhalter’s film is its particular beauty. I had the impression that the director tried to go a little further, enhancing his already magnificent work. At the same time, he moves closer to us. In Russian Siberia, we meet Josip, whose livelihood has been destroyed by oil companies which moved into the area. A native reindeer herder, Josip no longer knows how to live in a polluted, toxic environment, which kills ducks, geese and fish around him. He speaks of the past and how everything used to be better. He sits on a rock at the shores of the sea. Again, Geyrhalter uses a low angle. We’re on the same height as Josip, which makes the interview incredibly personal and intimate. It’s one of the film’s strength – the intimacy between us and those far away. Geyrhalter bridges geographical distances by choosing the right height of the camera.
It was in 2012, when Wang Bing filmed Three Sisters. A beautiful portrait of three sisters, left behind by their father who works in the city. It’s a portrait shot in the Chinese region of Yunnan. Geyrhalter filmed in that region about a decade earlier. He, too, portrayed the people, albeit the adults more than the children. It seems to be the first part, in which we listen to ongoing dialogue between characters. It’s striking because it’s not something that we’ve been used to in the previous three hours. Women cook, chop vegetables. They are amongst themselves, and it’s here that it becomes evident that the director tries to keep the societal structure within the groups he films intact on film. One woman tells us that people have “walking marriages”. A couple doesn’t move in together. A mother wouldn’t want her daughter to be raised by another woman, for example. So each stays in his/her own respective family. No one ever moves out or away. It’s something, which Han people (the main ethnic group in China) cannot understand, she says. The idea is not only to keep the family together, but also to preserve land. If a couple has 10 kids and each of them marries and builds a house, space for farming will become rare. This is how it works in traditional societies. Children move away and build new. Not so with the Moso people.
There are two main themes in Elsewhere. First, we have the theme of roots, of home, of tradition. The theme of the past, if you wish, a past that is continuous. The other, opposing theme is that of the present threat to this tradition. There is talk of “the white men” who have built villages in West Papua, those who now prevent the natives from killing sorcerers. There is talk of Greenpeace and its fight against seal hunting and its difficulties for the natives in Greenland. Then there is Denis, a Nisga’a (Canada), who had been sent to residential schools where he was beaten until he no longer spoke the tribe’s language. When he returned home and spoke English only, he was beaten at home, because he no longer understood the Nisga’a language. Tradition was beaten out of him. There is Luigi, a traditional fisherman, who still lives without electricity and running water. “Working doesn’t pay anymore,” he says. Fishmongers only want beautiful fish for the restaurants. Only poor people eat ugly fish. In Micronesia, on the Woleai Atoll, the US dumps what has become known as “Christmas drop”, stuff Americans no longer want are dropped off on the island for Christmas in the hope the natives could use this modern junk. What they use are the parachutes which are used to drop the “drop”. They’re effective mosquito nets…
How would Elsewhere look like today? How has life changed for those twelve tribes/families? I couldn’t help wondering. Elsewhere is an intense documentary that benefits from its long running time. Even though we spend only about twenty minutes with each family, Geyrhalter makes those few images count and leaves us with poignant dialogues and at times breathtaking images that, all together, create an intense film experience. It’s a film that makes one think and wonder, and makes one hope that Geyrhalter will redo this project so that we can see how things have changed. I’d give anything for it!
(Elsewhere is part of the wonderful DVD box set that Icarus has released earlier this year. An absolute must for me, so do check it out! More info on the Icarus website! Read my review on Geyrhalter’s other films, also on The Art(s) of Slow Cinema: Homo Sapiens, Pripyat, and Abendland.)
A caravan in the centre of the frame. An empty parking lot. The caravan neatly divides the frame into two equal parts. It’s a beautiful shot that, despite a faint male voice in the off, sets the tone for themes of loneliness, emptiness but also will and resilience. “Employees form a group. Overnight you become an individual,” a Japanese retiree tells us. Jacqueline Zünd, following three men in the US, in Europe and in Japan through a life-changing situation, proves herself to be a quiet but detailed observer, letting images rest, letting them breathe and wash at our shores.
Bob Pearson is a 50+ man, single. His ex-girlfriend pushed him to do something with the rest of his life. He became aware that he could die any day, and that there might not be a tomorrow. The camper van tour they had planned together has turned into a one-man show, just like the nightly stand-up show Steve puts on in Spain after having left a life of lies about his sexuality behind in England. Yamada, acknowledging that he had been married to his job, struggles to be “an individual”, struggles not to be part of a strictly formed hierarchy that his job had given him. He’s retired, now what?
Each one of those three men has a particular personality, a particular nature. They seem to be different types, but all three share one thing: they started anew. They changed their lives, their lives needed to change. Something in them pushed them towards taking the jump, the jump into the cold water of trying something new, facing the unknown. “If I want to do something, I want to do it now,” says Bob. Almost There is intrinsically tied to the process of ageing, of our having to face the reality of death, all the while trying to push it aside, push it further away, one more day, one more week. Maybe if I did this or that, I could say that I had a more meaningful life? Maybe I didn’t take enough risks, risks I could take now?
Of course, the real protagonist is time. It’s not only the process of ageing that makes the forward progression of time evident. There is also a fascinating push-and-pull between stillness and movement, between a stop and a forward jump. Zünd follows Bob on his journey with his camper van, more on the move than standing still. At times, he sits in a bar to have a drink, at others he gets a quick hair cut. Apart from those brief moments, Bob’s life feels like being constantly on the move. “I’m always scared,” he says at some point. He seems a lonely person. Zünd breaks her aesthetics, almost brutally, in order to insert family photographs of Bob, at a time he was younger. He had never been a particularly happy child, nor a particularly sad one. And yet, it becomes evident that he seeks solitude. He wishes for company here and there, but one gets the feeling that this coat of solitude seems to suit him well.
It is here, again, that time becomes the main force. As it does with Yamada. Shortly after his retirement, he didn’t know how to handle his “new life”. He struggled to fill his time, but, after a friend suggested it, he began to read to children. Zünd follows him on his journey, a particularly touching one, I found, one in which a father admits that he had never done anything for his children and that now he seeks to rectify the wrongs he had done. He’s making amends. He uses the time he has left to make up for the time he has already spent. Interestingly, Yamada’s film segments are a pool of stillness as opposed to the segments of Bob and Steve. At the end of the film, it feels as though only he has managed to find his place, his role in this new life of his.
This is different with Steve. Zünd follows him through the streets in Blackpool (me thinks!) and Benidorm in Spain. Zünd’s frames are beautiful, painterly almost. They’re frames worth printing. They put the film characters in an extraordinarily expressive surrounding that makes them appear small but dominant at the same time. They seem lost, but also in control. As Steve says towards the end of the film, he wasn’t sad or angry. If you were to feel this, you would be lost in the world. While Zünd’s frames, and her almost continuous music does make one feel sad for the characters – so much that I did have watery eyes at some point – there is a fascinating, opposing optimism in the film. It’s a sort of optimism that does not express itself through the film’s aesthetics. It opposes it. It does not openly embrace it.
It’s this specific clash that makes Zünd’s Almost There a gorgeous, a powerful, a deeply moving piece. I saw it for the first time two years ago, and it didn’t let me go. Zünd’s images have haunted me until today, and it’s not only the images that stayed with me. The film is telling a simple story about life, a universal story, but a story that we tend to push away: we’re ageing, we’re inevitably walking towards death. During my PhD research I came across the concept of TMT, Trauma Management Therapy. It’s said that we are naturally afraid of death, daily. But we do everything to keep this in check. One way of doing this is seeking something that would make us immortal in one way or another, to achieve something. I think that Zünd’s Almost There is a good demonstration of this, specially prominent in the story of Yamada, whose reading, we feel, will make him immortal, if only, perhaps, to the school children.
Almost there. Where? Zünd, I believe, brings us closer to ourselves. Ourselves as humans. The characters seem specific, but they speak from their souls, our souls. The film is human, and I’m not sure if I can name a more human film, a more down-to-earth human film that is this powerful. It is perhaps one of the best films of all time for me personally, and an absolute must-see, especially for those who love contemplative cinema.
It’s slowly coming together, the first print issue of The Art(s) of Slow Cinema. The design is ready (for now), and I have put work on the journal aside for now to allow me some breathing space. If you keep looking at the same thing all the time, you no longer see whether or not something looks good. I want to return to the draft with a fresh pair of eyes by the end of the week and start the final round of proof-reading. This means that we’re getting closer to the day when you can (finally!) pre-order the magazine. And why not give you a sneak peek at what is to come? Let me introduce…. *drumroll*
The wonderful Sebastian Eklund from Sweden, one of the most talented artists I know, has adapted the poster for his new film The Tide Brings the Birds Underwater (streaming for free on tao films) in order for it to fit the cover of the journal. It’s beautiful and expresses everything that Slow Cinema is for me. Obscurity, dreams, mind images, imagination…I cannot thank Sebastian enough for this. I hope it will look just as good in print! 🙂
The journal contains seven articles, responses, and/or creative works. Daniel Fawcett and Clara Pais from The Underground Film Studio contributed their engaging 21 Reflections on Creativity and Cinema in the 21st Century, which takes a look at the meaning of both at a time when digital images are omnipresent. A taster? Here you go:
The daily work of the artist is to develop a craft. Seek to have the widest possible creative tools available in order to best serve the images that need to materialise through you. Work on cinema and let cinema work on you; artistry and craft are ways of being.
I’m particularly happy that filmmaker and writer Maximilian Le Cain has agreed to write a response to Daniel’s and Clara’s propositions. All three belong to an active group of experimental filmmakers whose output is simply fascinating.
Watching is as personal and creative as making. This understanding rips the foundations out from under the traditional hierarchical power relations implicit in the producer/consumer dynamic. The question they pose of “how can a film fail when its only goal is to come into existence?” neatly emasculates over a century of puffing and panting efforts to overawe audiences with bigger, better, louder, more Olympian products.
And we continue with filmmakers speaking about their work and the meaning of cinema, time, and duration. There is Aleksandra Niemczyk, whose breathtaking film Centaurruns on tao films at the moment. Her Thoughts on Centaur are a view behind-the-scenes of making a film that is both personal, and yet universal. A visual beauty which impressed me the first time I saw it.
In a photo, stillness is pregnant with movement. The photographer brings the stillness, and the viewer must project the movement. In a film, stillness frames a scene, while movement is giving information, telling, bringing emotion. Stillness is observing and giving time to see and breathe the point of the frame.
What is the link between film and boredom? Why is it that some people get bored by films and others do not? Sebastian Cordes, director of A Place Called Lloyd (available on tao films), investigates the subject of boredom in cinema, merging his experiences as a filmmaker on set of Lloyd and theoretical reading.
To know nothing is, precisely, the child’s position. The poet, the philosophers position. This was our position in Bolivia. Anti-journalism. To embrace, to dwell, to plunge into a space for a while. This takes time. As it is said before, boredom is linguistically connected to time as well. Phenomenologically speaking, boredom is the state of being such that one’s time feels lengthened.
But Slow Cinema is not only about time. It is also about themes that find less exposure in other, more popular films. Their vertical development, i.e. their in-depth exploration of themes as opposed to a horizontal progression of a narrative by all means, allows us to get closer to a burning topic that are the heart of some people’s lives. Caitlin Meredith, the voice behind Her Head In Films podcast, writes about Yulene Olaizola’s Fogo:
Olaizola’s focus on the mundane also shows how these men are embedded in Fogo Island. We begin to understand why they cannot leave. They are so enmeshed in the environment–so attached to the land, the wind, and the water–that evacuating is, in some sense, death. It’s a death of the soul, of the spirit. By refusing to leave, they are resisting this death.
And one thing is sure: as Caitlin points out, at the heart of Fogo is the theme of loss, of death. This is also the case with Lav Diaz’s oeuvre, which I have explored for the Brazilian film magazine multiplot!, available online.
Slow Cinema has often been talked about in the context of temps mort, or dead time. After an action has come to an end, frames remain empty for several seconds, which tests the patience of the viewer. Lav Diaz’s films are no different, but his use of long duration and dead time takes on another dimension. He creates something that I call death time. Death always comes slowly in his films. It takes its time, and it’s not so much about dead time in Diaz’s films but about the slow descent into madness with death being a refuge for the persecuted.
The journal is a complementary resource to the website you have come to love over the years. There is one secret, which I’m not willing to give away yet, and maybe I never will. But let me say one thing: I have invited filmmaker and artist John Clang to contribute, and his work is so gorgeous that I don’t think I will give it away before at least the pre-sale!
The only thing you need to do now is wait. Which is what I do, too. Good things come slowly, and I’m not too far off the pre-sale. I’m just taking my time to make sure that it’s all good and that I can ship the baby without getting a bad conscience!
In the meantime, if you missed this announcement, you can now support me not only via Patreon and a monthly contribution. You can also buy me a virtual coffee via Ko-Fi. I love coffee when I write for you! 🙂
There are films that one struggles to forget. They stay with you either because they are terrible, or simply really good. Others stay with you because they’re affective in their simplicity, and really touch your heart. This fascination with films that don’t let me go has reemerged with Lam Can-zhao’s wonderful The Dog, which proposes multiple layers to the viewer about life and human relationships. It is one of many examples of a striving independent film community in China that creates a high-quality output, often without many people being aware of it because those films are not always easy to get your hands on.
TheDog is set in Guangzhou, China, in early 2014. A mother and her daughter appear to wait for the bus on the roadside. It’s a busy road. Scooters rush by, people walk past. There is a persistently high noise level that fills the director’s long take. The camera is static. Just like the people in front of us, who wait for the bus, the camera doesn’t move. It’s patiently waiting, surrounded by a sea of noise and movement. “Action!” Someone shouts from behind the camera. Is it the director himself? Does it come from a film crew nearby? It upsets the constant stream of movement, of our being invested, hypnotised by the passing scooters. In fact, it is the beginning of the director creating an at times frustrating, yet enjoyable encounter with his film, cleverly yet cruelly cutting at moments you just want to stay with a little longer. His cuts feel brutal at times, like a book which suddenly closes on us, depriving us from further reading.
The cuts become an editorial manifestation of the dog the director follows. A stray dog. He falls out of a basket at the beginning of the film, and then functions as a narrative thread, connecting our characters, people on the margins of society; a woman who is bored to death, living on the roof top with her boyfriend who is never really there; a man whose wife is severely ill and whom he has to take care of; a woman who tries to make a living by running her own snack service. The characters are as varied as can be, yet they share the exclusion from society. They share the invisibility, the fate of being forgotten. They share a life on the margins, in the dark. But they also share the company of a nameless dog.
A dog, who travels from one character to another, because everyone has a heart big enough to pick him up, but no one has the means or the chance to keep him. It is here that the previously mentioned cuts achieve their meaning. The director leads us on. A scene is picking us up. We feel comfortable, expect to stay, but then he brutally cuts and we’re put in front of the door again. Just like the dog. A young woman picks him up. She takes her distance, caresses him with one of her feet, but eventually takes him in. While preparing to give him a wash, her boyfriend arrives. They have sex, which we observe from the dog’s perspective, who sits at the other end of the room. “Take him away. It makes me feel uncomfortable. It’s like there is another eye in the room.” None of her arguments stick. He wants her to get rid of the dog.
This is the beginning of a journey through the margins of Guangzhou. Lam Can-zhao shoots the city in gorgeous black-and-white. Of course, this supports a narrative of people living on the margins, in poverty, away from the buzzing life of the high street. But the director does something else, which I noticed comparatively late. The stark black-and-white is combined with a particularly tight framing. It feels like tunnel vision at times, allowing us a rather boxy view of everything. Trapped where our characters are, confined to their places, both physical (their homes) and metaphorical (in society), without the means to break through the walls that the director so effectively recreates with his aesthetics.
It is an astonishingly claustrophobic world, which Lam Can-zhao’s dog takes us through. Uncomfortable, tight, a dark prison. The camera is often positioned on knee-height. There is no overview. There is no wide angle. There is only a small square, a snippet of a life, which suffocates Lam’s characters. In the last half hour of the film, after a gun shot, the director cuts to a slow-motion of the dog running across what looks like a dump yard. Is what we see a distant memory? Or is what we see happening in the here and now? Lam plays with time and space here, disorienting us by cutting the sound. Sound allows us a temporal and spatial orientation. But Lam remains true to his approach of locking the viewer into a claustrophobic prison s/he cannot escape from.
Only towards the end does the tight grip loosen. Lam shows us an open field from above, the camera pans across house roofs when a Buddhist monk arrives in a village and asks a young boy for meat for the dog. There is warmth to it. The sun shines. It is a scene very different from what we have seen before. It’s as though the film begins to breathe a bit, surfaces from the darkness in order to breathe before it returns into the claustrophobic darkness.
The Dog is a magnificent debut feature that is strong on aesthetics and narrative. It is not always overt in what it wants to say, which makes it a particularly affective film because you need to open up and feel in order to read the film, which deals essentially with the nature of being human, with loving attachment but confining pressure. The dog becomes a vehicle for the exploration of characters who each have their burden to carry. It is a gentle film, full of emotion that bubbles under the surface, tickled by the presence of the dog, but not tickled enough to be released. Perhaps it is for this reason that the film as a whole, and specific scenes in particular, will stay with me because there is something that hasn’t been said, and it’s this that sticks more than anything else.
One of the defining characteristics of Slow Cinema is that quite a number of films, in particular experimental films, question the difference between photography and cinema. Static art and moving image art interact and create a certain pull that only those films (can) have. At the beginning of 24 Frames, Abbas Kiarostami notes: “I always wonder to what extent the artist aims to depict the reality of a scene. Painters capture only one frame of reality and nothing before or after it.”
Moving images have helped make recorded life more realistic. I believe that almost everyone shares this opinion. Cinema had, originally, been hailed at creating an almost too real version of reality. Cinema had become an extension of photography. It can go further. Just the movement is enough to make us believe that what we see is real, or so it seems. Kiarostami, a photographer and filmmaker, blurred the line in many of his works, and therefore posed questions about the nature of both art forms.
With 24 Frames, the question becomes even more urgent. 24 Frames is not so much a film. It is not photography either. It is a question. 24 questions, to be exact, that make us drift into reverie. Most of Kiarostami’s shots are wintry landscapes, like those of a dream land, a land far away, peaceful, yet menacing. Shots, static, that suggest death, lifelessness, silence, contemplation. But death suggests life. Every death creates life in another way. It’s an eternal cycle. Nothing ever dies completely. And so the scenery, the reveries, beautiful, penetrating like the eyes of family members in photographs from a different epoch, begins to move. Snow is falling. Snowflakes are blown towards us. The wind is howling. Deer are running through a prairie after a shot went off. A shot in the off. Far away, and yet very close. The peaceful scenery is disrupted. The shot irritates, shocks, upsets the stillness. The shock of a shot of a deer is almost traumatising. What has happened?
Is this real? Did we have a nightmare? Is this our unconsciousness speaking? Kiarostami’s world is imaginary. It is a journey, several journeys, triggers that make us think about the nature of an image. 24 Frames creates 24 frames of a shamanic journey you are taking with the director. Crows fill the frames, making one think of Hitchcock perhaps. But Kiarostami is different. This is no threat. Kiarostami’s crow is a spirit animal, a prophecy. Wisdom, transformation, the act of change. It is a mysterious creature which, in almost literal terms, transforms a photograph or a painting into a moving image. The crow makes us question, makes us wonder. It initiates a journey into ourselves.
The sea. Endless, raging, wild. But also cleansing. Kiarostami’s sea is an important destination of his journey into the unconsciousness. Rain is falling, the wind is howling. It is a menacing scenery, yet soothing. The sea – a place without limits, without barriers. A place that frees our mind, that allows us to sink into reverie and to go wherever we want to be. That, too, is a journey. A personal journey to a place where we think we have to be. Our journey becomes our destination.
We travel through memories. Can you remember the day we arrived in Paris? Everyone was there. Grandpa wore his nice suit and his hat. He wanted to put on his best clothes for our trip. Can you remember what’s happened to him?
Static images, Kiarostami said, capture only a frame of reality. 24 Frames is a collection of 24 snippets, of 24 mind images, of 24 destinations on a journey that we’re gently taken on. We look through open windows, open doors. Vast landscapes and the sea are at our finger tips. 24 Frames is an invitation, it is a hand stretched out to us. “Come with me,” the film says. “Let me guide you.” There is no other film whose underlying openness is so vast, so liberating, so fascinating, so personal. The film doesn’t allow refusal. It is there to be journeyed with.
A woman is walking through a dead landscape. Nature has taken over what Man has built. It’s wilderness we see. “These wild apples grew after the accident. There weren’t apples here before,” she says while slightly turning towards us. She doesn’t stop. She keeps walking. Always on the move. She is a scientist, spending her day in a contaminated lab and checking radiation levels. She had worked in the city centre, she says. And at the nuclear power plant. Of her flat, nothing is left. She enters a rundown building that used to be her home. In one room, she finds a book on the ground that used to belong to her son. “It’s all radiated,” she says, and puts the book on top of the window sill.
It is an eerie but magnificent, haunting but beautiful end to a ghostly film. At the end of the 1990s, Nikolaus Geyrhalter explored “The Zone” around the Chernobyl nuclear power plant. It often feels like Andrei Tarkovsky’s Stalker, more modern perhaps, less philosophical, but just as important. The extensive ending, the woman walking through a wilderness which used to be her home, turns into a hypnotising journey through a place out of time. Pripyat is as timeless as Geyrhalter’s Homo Sapiens. Although it is anchored to the Chernobyl nuclear disaster, which occurred in 1986, it feels as though the film tells more than one story. The black-and-white shots of a rundown, deserted area speak of universal calamity.
Pripyat used to be a workers’ city. A city built from scratch, with a cinema, a stadium. Entertainment – that was important for those who worked at the nuclear power plant. And the city had it all. Geyrhalter introduces us to the now deserted landscape with long shots. His shots are memories, old photographs of things that have been. The deserted buildings become scars that have been left behind by a disaster, which disjointed time. It has blurred the line between past and present. Pripyat shows that both exist at the same time. Life and death – they’re always in one and the same frame. A broken-down electricity pole in an otherwise deserted landscape. A bird’s nest on top of the pole. A sign of life? Absence and presence. (In)Visibility.
“Well, we don’t call it ‘The Zone’,” an elderly couple tells us. The man confesses that he had been homesick after he and his family had been evacuated, so they returned to live in Pripyat, right in the centre of the contaminated zone that might remain lifeless for decades to come. “I can tell you, there’s no life here. There’s no on else, no neighbours,” he says.
What you see is what you believe. Geyrhalter sure shows us the dying city. Every day, a bit more of it is taken back by nature. Grass, fern, weed, trees. Despite several interviews, the film frames are drained of people. They’re drained of life. And yet. One security guard on the scrapyard for cars says that he got used to the danger. “You cannot see the radiation,” he says. But it is in every frame, an invisible presence that is really the core of the film. A hovering ghost from the past that makes what we see appear timeless. And so do those who have lost their lives in the disaster. They’re still there, invisible reminders of man’s self-destructive development in the name of science and progress. “He has never been found,” a foreman of the power plant’s Unit 3 says while standing in front of a memorial set up for one of the victims who died in Unit 4. Unit 4 – symbol of the worst nuclear destruction since WW II. An accident. An accident that should have been a reminder of the dangers of nuclear development. We didn’t listen. Fukushima was next.
“Even if I’m sent to prison for this. They can lock me up,” the woman scientist says when she speaks about helpers who had arrived from all over the Soviet Union and the world in the immediate aftermath of the disaster. She believes that many have since lost their lives. They needed experts, she says, not young man who didn’t even know what radiation was. She accuses the government of sending unknowing people intentionally to the disaster area.
There is anger. There is concern. One woman is still waiting to be evacuated. For six years. Six years. She has given up believing that someone would ever resettle her. You have to make do. “You have to live and you have to work,” an old woman at the doctor’s says. “But how are you supposed to live?” Geyrhalter shows us people who have been forgotten by the government. The present become the absent on a larger scale, in another dimension. Only a few years after the disaster, the Soviet Union collapsed. The responsibilities shifted. Those outside the zone continue their lives. Those inside are stuck in an atemporal bubble.
Pripyat is very much a precursor to Homo Sapiens. You cannot ignore the similarity between the two films. What he had started in Pripyat, namely the investigation of what mankind possibly leaves behind one day, Geyrhalter pushes a bit further in Homo Sapiens. There are no more men, no more interviews. Only empty frames, deserted buildings. An apocalyptic feeling which starts with Pripyat. Homo Sapiens feels like a sequel, and which, I might say, deserves another instalment. Geyrhalter is, next to Wang Bing, one of the most important documentary filmmakers working at the moment. Interestingly, the two directors from two different corners of the world share a lot, even simple frames that show up in both directors’ works.
There seems to be a silent conversation between the two, a conversation through film, a conversation that is so often absent in their films. Scarce, basic, casual. If communication exists, it’s a form of communication by those left behind, forgotten, those on the margins who are cut off from the rest of society. Whose livelihood has been destroyed and who make do with what they have. Pripyat is one of those powerful films that makes one aware of the many blind spots that exist around us, of people who, despite everything, simple keep living, defiant of all external threats and neglect. Film becomes a tool to acknowledge this, to take our hats off in face of their courage, and to let them know that not everyone has forgotten.
(Pripyat is part of the newly released DVD Box set of Geyrhalter’s films called Six Films By Nikolaus Geyrhalter. You can check the website of the distributor, Icarus, for more information. I can highly recommend getting the box set!)