It’s been quite a while since I have reviewed a book. This was primarily down to my not finding the right ones, or my waiting for certain books to be published. Slow Cinema continues to enjoy a particular attention in France, albeit it is important to note – once more – that Slow Cinema is an anglo-saxon term and if you were to look for something on the subject in French, you wouldn’t find anything at all. Reason being that those films are written about in a “normal” way, meaning they’re treated like any other film. Of course, their specific aesthetics do stand out, but there is no focus on the long-takes, on long duration, on minimalism. French writers speak about what those films have to tell (which is the most important part) and only then they say how they tell their stories.
Quite some time ago, I wrote about Antony Fiant’s Pour un cinéma contemporain soustractif (2014), which was very much a book about Slow Cinema (the first one, I believe) without mentioning the word. It was a good read, because it was so different from anglo-saxon literature on the subject. Fiant, who is professor at Rennes 2, in the city where I live (and where he also teaches a module on Wang Bing!), is back with a book on Chinese director Wang Bing. The director is clearly the most important contemporary filmmaker and the pace with which he releases films that deal with the conditions of his country is exceptional.
Wang Bing – Un geste documentaire de notre temps (2019) takes a look at all of the director’s films, with Fiant trying to group them into “cycles” or “trilogies”. One only needs to read the chapter headings in order to get more than a good glimpse of what Wang Bing’s filmography is about: “Lutter contre une amnésie historique” (A fight against amnesia), “Communautés dépossédées” (Dispossessed communities), “Individus dépossédés” (Dispossessed Individuals), “Quelle faute avais-je commis?” (What have I done wrong?). Without necessarily having seen all of Wang Bing’s films, one can gather that his country is not in a good state, nor is it developing into the right direction. That said, it isn’t surprising that the director, as Fiant correctly points out, is working clandestinely (“un cinéma contrebandier”). His films are the harvest of what the Communist Party and their political decisions sow. He gives silenced and silent histories a voice and is therefore much more than a filmmaker. He is also a historian, an activist, someone who, on an international stage, counters the official narrative of the state.
In the context of West of the Tracks, Fiant uses a term that I find interesting and also important. I wrote something similar in my thesis, when I spoke about Lav Diaz’s Melancholia. Diaz’s film contains a scene in which a group of activists dig up the remains of a disappeared person. The camera work in one specific scene differs from all other scenes. Diaz and his camera become archaeologists, who, themselves, help to uncover the dark truth behind the desaparecidos of the country. Fiant speaks of “une contemplation exploratrice”, a specific form of contemplation that seeks to explore. Even though the author uses this term in the context of West of the Tracks, I find that it describes a lot of the director’s films. The act of exploration characterises Wang Bing’s filmography. Although there are clear differences between his “mobile” pieces, such as Man without a Name, and his “static” works, like He Fengming, the act of exploration is at the heart of every single of his films.
The subjects Wang Bing explores in his films always, without exception, raise ethical questions, as is the case with documentary cinema in general. Fiant picks up this subject time and again and he speaks, in particular, about three ways in which Wang Bing avoids crossing boundaries. What is important in the context of documentaries, Fiant argues, is the position of the filmmaker/the camera with respect to the subject. Fiant identifies an aux côtés de, a face à and an autour de. Importantly, Wang Bing is never really involved in what he films. He is present, and one can see, or even hear, this clearly. At times there is the filmmaker’s shadow visible in the frame, at others we can hear his breathing. And yet, as Fiant notes, Wang Bing remains exterior to the actual action, which can be noticed in his instinctive choices, like this beautiful scene in ‘Til madness do us part, when he follows a young man who runs around the mental hospital.
The liberty with which he films, expressed through the sheer number of hours of rushes, allows him, in parts, to contain the aspect of ethics. I was positively surprised that Fiant mentions this aspect of Wang Bing’s cinema several times, because other than his formidable Mrs Fang, none of his films have attracted such a debate, even though ethics are at the centre of his filmmaking. The same is true of the anthropological character, which Fiant identifies throughout his book. And it is those notes by Fiant, which I appreciate most. His book brings in fresh material. It is not existing material newly assembled, which we have seen several times with literature on slow films. There are actually new points you can take away with and investigate further, also in respect to other slow-film directors.
Fiant’s book is one of already three excellent French-language books on the Chinese director. Remains to be seen if, and when, there will be an English-language translation. I, for my part, hope so because they all contain a lot of good material, which should be made more accessible. Fingers crossed!
Since the Industrial Revolution, children have been massively exploited for work. Even though nation states regulated child labour, there is still a lot of work to do in order to safeguard them. What seems to be particularly difficult nowadays is the prevention of child prostitution. Teenagers without real roots anywhere slip into the hands of men and women, who try to profit from them, who lull them into their vicious circles with the promise of money and freedom. This “business” often happens in the dark, away from the public spotlight, and it is of major concern in Latin American countries. By the name of Tania made me think a lot, it is not a straightforward documentary, or a straightforward fiction film. Tania walks a path between these two.
To survive, I have erased myself. Time doesn’t matter.
Time doesn’t matter. Nor does a human being in a circle of prostitution. This erasure Tania, the young woman, speaks of is at the heart of the film. What matters is not visible, it’s in the off. Mary Jimenez and Bénédicte Liénard create a haunting absence throughout the film, with a lingering camera that tempts us, but that also refuses to let us go where we would like to go, that refuses to see us what we would like to see. In one scene, the camera takes us to the edge of a lush jungle. The green is marvellous, the sound eerie. We see the entrance to a jungle, lined by trees. There is a desire to walk further, to continue this walk and see what is on the other side. But the directors cut. They cut us off and leave us with an unfulfilled desire.
This is the point. There is an unfulfilled desire in Tania, too: the desire to be the young woman she should be, carefree, light, free. Free in all respects. Yet, she is cut off from this desire and taken to an underground world where the idea of freedom is connected to earning money. Tania had a difficult childhood, moving from family to family before she settled living with her grandmother. She has been taught to show strength. Crying wasn’t a way to express sorrow. It equalled weakness. We see Tania in a bus, on a boat, on a journey to an unknown place, unknown even to her.
She offers me a job, but far away. What do I have to do? Serve drinks and dance.
On a boat, the police is checking ID cards. It’s the trafficking police on the search for minors travelling alone. One 15-year-old has to leave the boat. She is considered too young to travel. The framings are tight. We are in between hammocks. Even though the boat is open and we can see the wind blowing in people’s hair, there is a sense of suffocation underlying those scenes. It is almost an atmosphere of suspicion. Once you realise that the police checks ID cards, you begin to worry about the children on board the boat. Are they travelling with their parents? Are they travelling with their “uncle”, their “aunt” who sell them to men in the city? What is going on in everyone’s mind?
I couldn’t help making a connection between Tania and Wang Bing’s Bitter Moneywith a pinch of Amat Escalante’s Esclava. Wang Bing’s film focuses on young people, often barely 18, or officially not 18 at all, who travel to the city in order to work. They face exploitation and conditions that tie them to their place of work. There is no freedom anymore. There is no life. They become part of an exploitative cycle of capitalist work. Esclava is about forced prostitution, a brutal short film that shows what Jimenez and Liénard don’t show.
She takes my ID card and throws it into the river. ‘Now you’re nothing’, she says.
Nothing. This is precisely the subject of the film. It is not so much about prostitution, albeit it might look like this at first. But Jimenez and Liénard, in their aesthetics, in their choice of storytelling, focus on what isn’t, on what is no longer, on what has been lost, on what cannot be reached. After fifty minutes, Tania tells us about the fines she incurs for not having a drink with customers, for waking up late. She says that her debts keeps growing, even though she works every day. Again, nothing – growing debt, no way out.
As well as the loss of dignity.
He raped me because I was a rebel.
Jimenez and Liénard’s film goes deep, travelling into the wound that is sexual exploitation. It’s a traumatic wound, which shows in the non-chronological progression of the narrative. The shifts between past and present, without warning, without explanation, are brutal. Even more brutal are the shifts between the two different pasts to which Tania returns whenever she remembers a little more. Traumatic confusion, for Tania and for us. The poetic feeling to the film is misleading. It’s a bubble, a cover, a lie to make you feel comfortable. But the truth is that the directors take you into the dark, a little deeper with every scene.
Even after many years writing on Slow Cinema, I still get the same question: where can we see the films you are writing about? It isn’t always easy to respond to that question. Some directors, like Wang Bing, have secured DVD distribution of some of their films at least, if only in Europe. Films by Tsai Ming-liang are easy to get, but only in Europe and the US, I think. Lav Diaz is a special case. And then there are all those new, independent films from all over the world that struggle to find a way to their audience.
For this weekend, I have a special slow gift for you. First of all, subscriptions for tao films come with a 50% discount from 10 – 17 May 2019. Your subscription costs only 2,99€ instead of 5,99€. tao films have a library of over 70 contemplative films, most of which are available exclusively on tao. We stream worldwide and invite you to discover the new generation of slow-film directors from all over the world.
To get your discount, sign-in or register on tao films. Then purchase a 1-month subscription. The discount code has already been applied. Remember, this offer is valid from 10 to 17 May 2019.
Second, courtesy of a wonderful person, The Art(s) of Slow Cinema can offer its US-based readers a 50% discount to the new VoD platform OVID. Your subscription will cost only $3,50 a month for three months ($6,99 after that unless cancelled). OVID offers the big names of Slow Cinema: Chantal Akerman, Wang Bing, Nikolaus Geyrhalter. There are also Patricio Guzmann and Chris Marker. Ben Rivers and Ben Russell are there, too. So if you were dying to see Wang Bing’s new film Dead Soulsor Chantal Akerman’s Là-bas, this is your chance to finally see those.
To get your OVID discount, head over to their site and sign up by selecting “Recurring monthly membership to OVID tv.” Then click “Redeem coupon” in the upper-right-hand corner. Your code is “SLOWCINEMA” (the code is valid until 31 May 2019). And thank the magical person on the other end, who made this possible 🙂
Enjoy the slow weekend with your films. Looking forward to seeing you on tao films!
There is one aspect of my work in the field of Slow Cinema, which I like more than anything else: the opportunity to travel the world via the eyes of filmmakers who listen to marginalised people around the globe. For the first time in ten years writing on the subject, I have been taking a trip to Laos, a country perhaps no one really knows much about. Perhaps the capital, at most. But when it comes to life in Laos, a small country in south-east Asia, with almost seven million inhabitants, we know nothing. Nicolas Graux has travelled there to use film as a means to tell the story of Laosan, a young man, married with two children, who is addicted to opium.
This addiction doesn’t come from nowhere. On the contrary. As Laosan tells us in the second half of the film, the family grows the highly profitable plant. The plantations in themselves don’t cause the people to get addicted, but a lot of men in this Akha society are. Laosan’s parents, he tells us, became addicted after the death of his brother. They didn’t know how to handle their grief. Opium became a relief and his father, in particular, is seen smoking time and again throughout the film. This is only part of the story, however. The core of Graux’s film focuses on Laosan himself and the ways in which his opium addiction affects not only his own life but also that of the people around him.
Graux uses breathtaking long-takes in order to situate us in the milieu the Ahka are living in. Tight, almost suffocating close-ups are replaced with wide open shots of the jungle, low-hanging clouds moving along the horizon. Laosan is a heavy smoker, he tells us. As soon as withdrawal effects are setting in, he needs to tackle them by smoking again and, more importantly, smoking more. We see him preparing the drug, we see him inhaling and exhaling. We see the smoke that leaves his mouth and his nostrils. The repeated shift between close-ups and long shots resembles Laosan’s smoking process; the film inhales and exhales. The low-hanging clouds become a mirror for the opium smoke that infests a substantial number of Graux’s frames.
But the film is not only an aesthetically pleasing, visually stunning piece. Graux lays open the problems of opium addiction in society. Laosan is an absent husband and father. He doesn’t know what to do with his life. He has lost all energy, all perspective for the future. He is almost lethargic. His parents, especially his father, urge him to move away from the region and to build a new life somewhere else, to a region that had something to offer. Laosan’s father reiterates time and again that the region had nothing more to offer, and that his son needs to make a move fast. The dialogue between parents and son, shot in an extensive long-take, is ironic in some ways. The father, himself addicted to opium, scolds his son for losing all interest in making something out of his life. It is clear that the problem is the opium, and yet the father doesn’t mention it. Opium – the elephant in the room.
Most heart-breaking is a sequence that focuses on the women in the village. It is they who suffer the most. They speak of their horror witnessing the drastic change in their husbands. They speak of their fears of being beaten because opium makes their husbands violent. They speak of wanting to leave their miserable lives behind, of going to China, of looking for a new man, a new job. Laosan’s wife even speaks of suicide because she can no longer live this life. It’s her children who hold her back. Who would look after them? she wonders. Her plan is to move away as soon as her children are old enough. Until then, she will be locked into a tiring fight against this disease, this addiction that has changed the face of the region.
But perhaps there is hope. Laosan tells us that the Laotian government seeks to prohibit the growth of opium. The young man, marked by over a year of addiction, is hoping for this change, giving him the chance to finally come off it. For Laosan, being surrounded by opium is counterproductive to any attempt at freeing himself from those chains. He hopes for the government, for the prohibition of opium in the country, in order to get clean. It is, perhaps, the desire of a vast number of people. Laosan is only one of many. Graux allows him to tell his story and his camera is a patient observer, which stylistically also reiterates the idea of lethargy. Cinematic slowness becomes an expression of each and every lethargic day spent in the mountains and hoping for better days to come.
I couldn’t help but think of Apichatpong Weerasethakul several times while watching Graux’s film. There is a degree of similarity between Weerasethakul’s Tropical Malady and Century of Smoke. Is it the location? The aesthetics? The way of observation? I haven’t found the answer yet, but regardless, Graux walks in the steps of big-name slow-film directors. With Century of Smoke he has arrived at the very heart of Slow Cinema, and he sits comfortably amongst Weerasethakul, Lisandro Alonso and Tsai Ming-liang.
It was difficult to find time for writing another review. I have been asked to write an essay on Wang Bing for Thessaloniki International Film Festival, which programmed an artist focus on the Chinese director. I am also contributing to a French-language edited collection on Lav Diaz, and have been offered to write a book on Slow Cinema. Writing spreads out, and the blog is, at the moment, not the only platform I need to take time for. If posts come at a slower rate than usual, you know why that is the case.
After the first hour or so of Wang Bing’s ‘Til madness do us part (2013), I knew that I didn’t want to write a review of the whole film. When the director introduced Ma Jian, who had been hospitalised for five months at the time of filming, I knew that I wanted to focus on this specific character. There is a lot just in the first quarter of the film alone. The images alone say so much. The behaviour of those hospitalised, some for over a decade, deserve a separate study. The different backgrounds of those hospitalised, too, deserve a separate study. Madness is such a rich film, disconcerting without a doubt, but this very film says perhaps more about the director’s country than any of his other films.
My main interest has long been the representation of trauma and the aim at representing a sort of concentrationary universe through the use of time (duration), and interaction between absence and presence, life and death. I wrote quite a bit about it in my PhD thesis, which you can download from the British Library. In my thesis, I analysed the ways in which Lav Diaz created a concentrationary universe in his films, in particular in Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). I argued, contrary to available literature, that the concentrationary doesn’t need an actual camp or a prison as a framework. The concentrationary is first and foremost based on a specific experience of time and space.
In Wang Bing’s Madness, you have the nature of the concentrationary right in front of your eyes without the director needing to create a particular mix of aesthetics in order to evoke it. Only a camera was needed, straightforward shots of inmates of a mental hospital, inmates whose reason for their being there is not always evident. Some men we come across – and this is striking because the film focuses on the male population of the institution – certainly struggle with their mental health. Some may be autistic, some violent. Some cannot shoulder a normal life on their own. Others seem perfectly normal, and, seeing this film in 2019, makes you wonder about the real reason for their stay. I’m thinking in particular of one Uighur, who, in one scene, is filmed while following his traditional prayer routine. Perhaps, the man would have gone unnoticed six years ago. Perhaps he could go unnoticed even today. Yet, with China ramping up their persecution of Uighurs and deporting them to concentration camps for “re-education”, Wang Bing’s temporary focus on this young man poses questions about the reasons for his internment. Was the internment in mental hospitals the beginning of concentrating the Muslim population? Was this young man there simply for his religious beliefs?
But let me return to the man I mentioned above: Ma Jian. A young man, who, in the first part of the film, reminded me of a nervous lion inside a cage waiting to be let out. Jian has a tendency to violence, although the question is whether he had been violent before his internment, or whether violence became a means for expressing his frustration with his being locked up. This is the first element one notices: in no way does this mental hospital look like one. Except for handcuffs, which, to be fair, do come into use here and there, the hospital has everything of a prison, including the barred doors. It’s nothing more than a building made of cold concrete with rooms which up to six people share at once. The bars along the hallways certainly prevent suicidal inmates from jumping off their balcony, but, as a viewer, it gives one a permanent feeling of being locked up.
Jian is a fascinating character, and I believe that he is autistic. His reasoning, his monologues (or even dialogues with Wang Bing), show his intelligence. He is fully aware of what’s happening around him and he is also aware of his not being in the right place. “How the fuck did I end up like this?” he asks. He seems sleepy, almost drunk, which could be the effect of medication they give him to calm him down, to sedate him.
“What kind of life is this?”
“The pain doesn’t make you want to live. How many lives I have? Nine!”
There is a lot going on in his head. Ma Jian is the character that touched me most in the entire film. At the time of filming, he had been interned for five months. When we see him first, we don’t know why he is there and for how long he will have to stay there. The immediate concern, from my side, was what will happen to this fragile character in an environment like this. It’s not at all about living, it is about surviving and following your basic needs. One man, struggling to keep on his feet, gets out of bed in one scene, stumbles out of the room into the hallway and pees right there. He didn’t go to the toilet. It didn’t matter. Life is nothing other than basic needs. The man has become a muselmann.
Nothing really matters in this hospital. The inmates live outside of time. They have fallen out of time, as David Grossman would describe it in his book on trauma. There is little to keep the patients busy. Most spend their time in bed, regardless of the time of the day. They are vegetating, and that often for years. Ma Jian attempts to fight against this state. He runs. He takes off his jacket, jumper and shirt and starts running. Wang Bing follows him, a magnificent long-take that, I believe, is the best scene in the director’s oeuvre. It’s spontaneous, it’s life and fight, it’s pulsating. It’s a rebellion. It’s a “no” to everything.
“This is a dead end. This sucks, how can anyone live like this? Come on, kill me. You could even butcher me like a cow or a chicken.”
One of the main characteristics of the concentrationary system: an increase in the death drive. But suicide is prevented, through bars and empty rooms. There is no escape from this degrading situation. Agony is extended. Frustration grows. There is no other possible end than madness in this hospital. ‘Til madness do them part. There is something about Wang Bing’s choice of film titles that strikes me every time I see another film of his. How fitting can a title be, how much can it reinforce every single frame that we see? I’m still wondering what has happened to those people in the last six years. Are they still there? Have some been released? Just how many have lost their minds?
And then there is this echoing title. Until madness do us part. Me and the people I have followed for four hours.
There are films, which I’m grateful for. Grateful for being able to watch them, grateful for being able to write about them. Grateful for being able to experience them. There are those films that go deep without trying too much. Films that show the ordinary in their ordinariness, in their simplicity, and which tell a million stories about who we are and why, about what is happening around us and why, what consequences there will in future, and sadly, about how little we can do about it.
Xu Xin’s A Yangtze Landscape (2017) is one of those marvellous films, which made me want to stop it several times in order to process the images in front of my eyes as well as the images in my mind. A Yangtze Landscape is not only a beautifully shot film, it also conjures a number of images, thoughts, and emotions that I struggled to digest all at once. Something that Xi Xin clearly demonstrates is that there is a strong documentary movement present in China, which goes against the official party narrative, a movement that looks beyond propaganda, beyond imagined greatness and heroic plans. It looks at the reality without commenting on it. The camera records the invisible, the silenced and the silent. What directors like Wang Bing and Xu Xin show, won’t end up in history books, or in any books for that matter. If it wasn’t for them, the people they meet would fall into oblivion; forgotten, silenced, expropriated.
A Yangtze Landscape is a journey in many ways. We move along the river Yangtze, the longest river in Asia with its over 6,000km in length. It’s an astounding river that is not only an ecosystem in itself. It is also a symbol of the exploitation of resources, of the creation of man-made projects, state projects in the name of the party, which displace hundreds of thousands of people. Fast progress by all means possible. On his way along the river, on boats, ships, filming the vastness that alludes to an open sea, Xu Xin stops here and there. He literally holds the forward, horizontal progression and dives into vertical storytelling. It is this vertical exploration that questions Chinese progress, that not simply films it, but that investigates its effects.
It is also this vertical exploration that made me think just how important filmmakers like Xu Xin and Wang Bing are, both directors looking at those people who are being left behind by a grand project that, officially, has no victims. Xu Xin shows us people whose stories are never told. They often reminded me of Wang Bing’s Man With No Name or Till Madness Do Us Part. The people we see are disabled, mentally above all, but also physically, the latter, for one man, being a result of having protested against the damaging of his fisher net by big ships. His hands were mangled, he can no longer earn a living. This elderly man, sitting outside overlooking the river with his mutilated hands…what a powerful message in a film that quietly inserts written words to inform us about accidents, suicides and state intervention.
The gloomy greyscale landscapes, almost all of them man-made, speak of lifelessness, and are juxtaposed with the movements of Xu Xin’s camera on board a ship (or does he travel on several ships?). Here again, as in many other slow films, we witness a push-and-pull between life (animation, movement) and death (stillness). The massive projects along the Yangtze river have their advantages for some people, but mean the loss of an entire identity for others, sometimes of lives. This clash, highlighted throughout the film’s over two-hour running time, is aesthetically intensified through Xu Xin’s use of sound.
It’s the sound, or rather the deafening noise of a firework display from Chinese New Year, which connects several scenes in the film. The sounds clearly oppose the images. There doesn’t seem to be a link at all. What the sounds do, on the other hand, is they introduce a degree of disorientation. They may not support the images as such, but they support the mental state of the people we see, the disorientation felt by those who were displaced, the staggering changes, even invasions, of man-made structures. And with that, Yangtze is not only a Chinese film. It not only speaks about the country’s modern development.
Instead, it is also a film about Man’s anthropocene era. It is Man’s era, an era in which we have reached total dominance over nature, an era in which we irreversibly steer towards our downfall, our extinction. Yangtze reminded me of Norbert Elias’ speech on the 40th anniversary of the end of World War II. His argument has, of course, nothing to do with film, but with the way we treat our surrounding, and, with that, ourselves.
How come that we force scientific progress in order to dominate nature? How come that we try to explain everything in order to make life less dangerous? How come that, at the same time, we seed hostility, resentment, inequality between people which will inevitably lead to conflict and war? Xu Xin’s film is a very good example of this specifically human problem. Yangtze is a film about creating a (state) hegemony, a superiority that aims to remove its opponents, but which, in the long run, will not stifle conflict. What Yangtze shows in its often sublime shots is power, the thirst for power that has no limits.
But Xu Xin hides this point well. It’s not overt and needs to be looked out for. Yangtze is not so much a film about landscapes and about the longest river of Asia. It is much more complex than it looks at first. It is a statement about us. Xu Xin uses frames that are relatively open, giving us the space to think through different possible meanings of what he shows. In that, he differs from Wang Bing, who tends to use tight frames. Tight frames are always a means to evoke suffocation, making it clear to the viewer that there is pressure from the outside. Xu Xin, on the other hand, leaves things open.
In the end, what remains from A Yangtze Landscape is a bitter aftertaste. The film is a mixture of stunning beauty, and utter poverty and oppression, which some people escape from by killing themselves. There is a contemplative journey juxtaposed with violent imagery. The back and forth creates a truly powerful film about 21st century China and about our human condition.
Here we are again. Another year comes to an end. It’s not easy to look back at 2018, which began with a complete breakdown of body and mind and which ended with complete exhaustion. In between, I tried to watch films and write articles. On top of that, I have managed (don’t ask me how!) to create a new baby: The Art(s) of Slow Cinema magazine.
But let’s look at something else first. Social media as well as news sites are full of annual Best-Of lists. I don’t think in lists, as many people do. Classifying everything is one of those quirks of our time, primarily because we can. Social media, in particular, allows us to judge everything. Whether continuous and subjective judgment of good and bad brings us forward, or helps the art of cinema in anyway could be a lengthy debate at a workshop, or a conference. I think the issue is that some people watch too many films, and I have trouble to believe that they can actually savour each one of them them or choose wisely. I was forced to take a step back this year and watched less films than usual. But I can say that all films were good. And so they were last year. To me, it’s about giving a film time to make an impact. This can come after a few days, sometimes even after a few weeks. If, by that time, you have seen another 20 films, the impact of a really good film will be drowned by all the others. Images merge and become one. In the end, it’s like a slow coffee filtering process. The more time it takes, the better and stronger the taste.
This is quite literally the case with Wang Bing’s new film Dead Souls. Eight hours long, with the film getting stronger over the course of it running time – this is really what, to me, cinema is all about. Yes, I could say that Dead Souls, a collection of testimony from survivors of Chinese labour camps, was the best film I have seen this year. But then, so is Elsewhere by Nikolaus Geyrhalter, which really drew me in, and which is still with me, even months after I have seen in. Both films create the weight and the urgency with which they tell their stories through the use of long duration. The filmmakers took their time with their subjects. It was not only about listening, but also about understanding the stories the people in front of the camera tell us. This is perhaps the element that stood out most for me this year. It was a year of seeing and of listening to people.
Seeing – this reminds me most strongly of Chantal Akerman’s Jeanne Dielmann. It’s one thing to watch the ordinary in Slow Cinema. It is something entirely different if one watches Jeanne doing her routine housework until this routine cracks. I had thought it would be a laborious viewing session, but it was a revealing experience instead. And so was Jacqueline Zünd’s Almost There, a truly marvellous poetic documentary that made me think, and almost cry. It is unfortunate that it’s difficult to find female slow-film directors. I’m sure they’re there. The challenge is to find them. Jacqueline Zünd is a great example of exceptionally good female filmmakers, with an eye for detail and an ear for (extra-)ordinary stories.
My year 2018 was a year of long-form cinema. I have mentioned Geyrhalter’s Elsewhere and Wang Bing’s Dead Souls already. This year, I also took the time to watch Claude Lanzmann’s Shoah, Lav Diaz’s four-hour long The woman who left and Andrei Tarkovsky’s equally long Andrei Rublev. There is something about long-form cinema that, for obvious reasons, the average film cannot give you. Long-form cinema can be the ultimate example of vertical cinema, a form of cinema that gives you a real insight, an in-depth exploration of a subject matter. Of course, it is not easy to find time for long films, but every time I do it I have to say that spending a couple of hours with a single film is worth it and I start to like them more than shorter films.
This also shows in my posts. I have written 15 posts less this year than in 2017, and yet I have written 7,000 more words. There was more to say, more thoughts triggered by the films I have seen. And despite the longer posts, people keep reading The Art(s) of Slow Cinema. Thank you! 2018 was the most successful year ever and even more people than last year found their way to the site. Thank you to everyone who is linking to it!
So, what’s next for The Art(s) of Slow Cinema? At the beginning of January, the first 20 copies of Issue 01 of The Art(s) of Slow Cinema magazine will be shipped. The paper version, with previously unpublished material by artists, filmmakers and cinephiles alike, is a new way forward to broaden the output. I want you to read other opinions, other views, instead of always only my own 😉 If you want to check the first issue, do take a look at the contents and you can order it via tao films.
I’m hoping to publish the magazine twice a year, but it really depends. I’m not pushing it. If the content for a new magazine isn’t there, then I will wait until it’s all there and ready. Slow film, slow magazine. A new project for 2019 is a Slow Cinema podcast. Once I have recovered and recuperated my energy, I will start experimenting with different things and see how I can best approach this. Each episode will be a more in-depth analysis, or a conversation with someone about a film I have previously written about on the blog. That’s the plan. How it will look (or sound) like in the end, we’ll see. But this will be the next step for The Art(s) of Slow Cinema.
The first post in 2019 will probably be thoughts on seven podcasts, which deal with the concepts of waiting and slowing down. I’ve come across them this month and found that there was a lot in them, which I’d like to expand on here on this blog. Apart from that, however, I will take 2019 the way it comes. I have two more films by Nikolaus Geyrhalter to watch and the rest is open. Let’s see what I’ll find!
Finally, I’d like to take the opportunity to make you aware of my profile on Steady. Steady works a bit like Patreon and offers you a chance to support the growing body of work I’m doing for The Art(s) of Slow Cinema. It becomes more and more demanding, but it is work I have been doing happily for free. I have also said that the blog will always be for free. And I stick to this. On the other hand, you can support me on Steady and make it a bit easier for me to dedicate myself to this work. Take a look and if you could circulate it, advertise it or contribute, I would thoroughly appreciate it. Thank you!
I wish you all a fantastic end of the year, and I’ll see you in 2019!
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.
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.