right now i am watching...jiri kino ovalis wrote: ↑Sun Nov 08, 2020 1:22 pm ofc all this might even happen due to some "spiritual" awakening (ppl will start in grand scale doing yoga, get locked in dark chambers experiencing sensual stimuli deprivation, will start doing long-distance walking pilgrimages, dervish dancing, etc. etc. etc.)
THE LAST IMAGE (Judith Zdesar, 2020)
and when i checked the other films by Judith, i stumbled upon...What’s it like to live with vision loss? This film is a survey of the lives of people living with visual impairments who have either already gone completely blind or are slowly losing sight of the world around them.
ALL THE SHADES OF ONE LONG NIGHT (Judith Zdesar, 2011)
which reminded me of another doc which i watched few days ago...From someone who moved away to learn about fear. The flight in the dark to Greenland begins with a farewell to the sun, which glows as a red ball in the cabin window. Upon arrival, camera and microphone have to battle the ice-cold wind. Only fragments of bundled-up figures that have somehow gotten into the circle of light can be discerned; no colors. Nothingness begins in the blackness right next to the flashlight’s beam. Dominating inside, in the island of warmth, are yellow, red, and flesh tones—colors with a high color temperature. Isolation seems to have dissolved here in an atmosphere of mutual trust. Experiences are exchanged, instructions given. The darkness and cold are not only geographical, meteorological, and physical phenomenon—qualities related to the light waves (on film material)—but deeply rooted atavistic ones. Darkness is hostile to life; unpredictable, associated with existential angst and death. The present film presents a self experiment in which fear, loneliness, and exposure to a foreign context are explored in a cinematic diary. Eyes, one’s own and the lens of the camera, gradually adjust to the darkness. It gets lighter in the end. Nuances of gray, blue, and sometimes a fragile pink begin to shimmer from the shapeless void. But polar bears and the unspeakable continue to threaten in the night. One is meant to take care when the dogs bark; but when the dogs always bark?
WHITE ON WHITE (Viera Čákanyová, 2020)
in sum, these films should be played (besides serving acid) on political rallies to encourage introspection and as a consequence will be also raised awareness of the environment and climate change.Viera Čákanyová’s video diary that she kept while staying at the Polish Antarctic station, where in 2017 she shot the film FREM (2019), whose main character was an artificial neural network. During her stay, the author chats with various artificial intelligences, leading conversations that touch on the nature of film, art, and the meaning of life while also revealing a way of thinking that’s free from humanity and from an emotionality that forces deep introspection. Footage from her routine, everyday life at the station contrasts with lyrical images of the immaculate Antarctic nature.