I Am Not From Here
The start of Alexander Dovzhenko’s Earth (Zemlya, 1930) shows an old man on his death bed. He looks happy, and dies in the midst of a pile of apples from which children are eating. Life and death appear to be in harmony, two sides to a natural life cycle. When the film cuts from the man’s death to people mourning, their hysteria seems an unsuitable reaction.
Thanks to Dovzhenko’s montage, his unconventional movements from frame to frame, which bridge various ages and couple proud human bodies with lively dandelion heads, we have seen something they have not: how the man died happy and in harmony with his surroundings and circumstances. Precisely through this montage we are able to experience «his» world and understand that he felt connected even with the loss of life marked by death.
Some of what film makers such as Dovzhenko shows us, is that films can create a non-linear sequencing which can achieve a more intimate understanding of lived reality than the classic, linear time. The opening of Earth would seem confusing if you expect a traditional logical – meaning linear – temporal association between images; linearity is sacrificed in order to express an emotional experience of belonging, a feeling that works across chronological time and our rational ideas about life and death.
Detached observation. In the observational documentary I Am Not From Here (Maite Alberdi and Giedre Zickyte, 2015), which recently started its festival run and won one of the main prizes during the Swiss Visions du Réel, we see a similar principle at work, although this film highlights the opposite: feeling detached at the end of the road.
We follow a period in the latter life stage of an older woman who is struggling to belong in an old people’s home in Chile. Originally from the Basque city of Renteria, she is unable to comprehend that she is now living in Chile. In slow motion, the film observes her alone and as she interacts with the other residents, picks up frictions, sparked by the woman’s forgetfulness, other people’s prejudices, unwanted flirting and a silence caused by bad mood and a lack of interest in each other’s lives.
The directors Alberdi and Zickyte have chosen a stylised observational approach – no interviews or interpretative narrator – akin to Ruben Östlund’s look at social intrigues in everyday surroundings. Cameras positioned in the distance (even during facial close-ups it feels as if we are far away) and soft lighting inviting us to rest in the images, lead to a somewhat «distanced intimacy» of the situations. We are encouraged to gaze analytically, but are also invited into the rooms, as we are tense and half-hearted tourists.