![]() One thing is certain: the picture’s opening is terrific. While it should be of interest to arthouse distributors, the film is likely to be a theatrical curio rather than a breakout success. This film’s distinctive approach and arrestingly cinematic impact should ensure a healthy festival run. It marks a return to Berlin Film Festival’s competition, a slot he last occupied in 2003 with Alexandra’s Project. This is De Heer’s first feature film since Charlie’s Country (2013), which premiered in Cannes and secured the Un Certain Regard Best Actor prize for star David Gulpilil. It’s striking, thought-provoking filmmaking, although it rather runs out of steam and ideas in the third act.Ī world of white oppression, which is ruled by guns and blighted by a highly infectious and deadly disease But this is clearly a film that is responding to a specific moment in history, weaving together the impact of the pandemic and the BLM movement. But she is resourceful and manages to break out of her prison, travelling far in search of safety. The backdrop is unmoored in time – it is not clear whether we are viewing an alternative present, a dystopian future or a symbolic construction. In this cage is BlackWoman (Mwajemi Hussein), shoeless, ragged and left to die. A far-reaching cross-country trek, the film starts in a barred metal crate, abandoned on the baked clay of an Australian desert. ![]() Rolf de Heer’s wordless allegorical drama explores its themes in savage, boundless landscapes in stark images of hate and violence and in disease and blood. Source: Berlin International Film Festivalĭir/scr: Rolf de Heer.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |