Showing posts with label Here. Show all posts
Showing posts with label Here. Show all posts

Monday, January 15, 2024

Soup for the Soul

Here (2023) - Devos Screen Shot 2024-01-14 at 9.27.46 AM Screen Shot 2024-01-14 at 9.39.49 AM Screen Shot 2024-01-14 at 9.48.09 AM Screen Shot 2024-01-15 at 8.38.08 AM Screen Shot 2024-01-15 at 8.50.26 AM Screen Shot 2024-01-15 at 8.52.33 AM Screen Shot 2024-01-15 at 8.55.23 AM Screen Shot 2024-01-15 at 9.09.20 AM Screen Shot 2024-01-15 at 9.00.15 AM Screen Shot 2024-01-15 at 9.11.37 AM Screen Shot 2024-01-15 at 9.01.24 AM Screen Shot 2024-01-15 at 9.10.31 AM Screen Shot 2024-01-15 at 9.19.27 AM Devos's nocturnal ASMR session continues with Here, after Ghost Traffic. Just like in his previous film, Devos explores the interconnected lives of immigrants in Brussels. If the night was the rug that tied rooms together, this time it's the forest in an urban setting. And as always, in its full frame presentation and still images, it's gorgeous.

A good looking Romanian construction worker (Stefan Gota) is about to take his well earned vacation and drive off soon as his car is fixed. In the mean time, he is clearing out his fridge and using all the remaining vegetables to make a batch of soup in order not to have them go to waste before his trip. He takes his soup in containers to give to his friends and relatives. A Chinese bryologist and lecturer (Liyo Gong) who is working at her auntie's Chinese takeout place meets him one day as he takes shelter from the rain and eats in the restaurant. They converse about his wet shoes.

When he walks through the park on the way to retrieve his car from the garage, he meets the bryologist again, studying and collecting moss samples there in the forest with her little magnifying glass. She introduces him to the world of mosses, and fascinated by the whole ecosystem through the magnifying glass, they are lost in time and spend all day together and walking and talking in deep of the park.

There's a little magic about the film. The mysterious seedlings that glow, the sound of nearby train running replaced by rustling of the trees and unseen birds, the well timed rain showers, etc. The little romance between the two charcters are so understated and happens literally off the frame, yet so sublimely lovely. Remember, making soup for somebody is the most romantic thing to do.

Sunday, September 30, 2012

Invisible Borders

Here (2011) - King
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Music video director Braden King (Bonnie Prince Billy, Dirty Three, Totoise)'s meta-road movie Here isn't quite what he hopes it to be. But it's still quite beautiful. Filled with stunning images of Armenia, affable actors (Ben Foster and luminous Lubna Azabal) and poetic audio-visual interludes (by different experimental film artists, narrated by Peter Coyote), it tries to invoke a dream state. But the whole set up is pretty much grounded in reality- Will, an American satellite mapping engineer, Gadarine, a semi-famous photographer, a prodigal daughter coming back home.

As they travel through Armenian countryside as their projects intersect, they fall in love. There are a lot to admire in Here: Foster and Azabal have real chemistry together and the film is gorgeous to look at. And I wish someone put up the compilation of all the Coyote interludes under one roof. Because I can watch them over and over and over again. I really do think wanderlust, being lost in somewhere not familiar is innate human nature. Will trying to eradicate 'the edge of the world' so everything can be viewed on google map and Gadarine's effort to preserve the fleeting moment of time and place clash despite their attractions.

In the age of google, what does it mean being here instead of over there? Why do people have to separate? These are questions King touches upon but never follows through. But does he have to? The film lets us ponder the arbitrariness of the invisible borders between places and human beings. I would've liked it a lot more if King went all abstract and non-linear. It's a lofty concept he is playing with, but not fully realized but only we can, in our minds long after the end of the film.