Young is a regular contributor to Modern Times Review.
The Haitian goat Britis proves an excellent mute guide at the Grand Cimetière in the Haitian capital Port-au-Prince, squeezing through narrow passageways as he inquisitively scurries from crypt to crypt.

A young Haitian named Britis shot one of 2018’s most remarkable documentaries, but his stunning camerawork did not result in him joining any cinematographers guilds – such organisations tending to exclude four-legged members. Britis is a goat. In the film he visits and explores the Grand Cimetière of Port-au-Prince, Haiti – permanent home to many of his species as well as numerous humans, both dead and living.

Britis was fitted with a harness and a GoPro camera and was thus able to capture for posterity his wanderings through the rubble-strewn graveyard. His services were employed for just a single day of shooting by a trio of artists – Steevens Simeon, from Haiti, and a brace of Brazilians, Jefferson Kielwagen and Marcos Serafim – during the 5th ‘Ghetto Biennale’ in December 2017– a down-to-earth counterpart of the decidedly grand and relatively opulent Venice Biennale.

The resulting footage was then edited down into a fifteen-minute film entitled Gede Vizyon, which screened during 2018 at a scattering of exhibitions and small/medium film-festivals in the USA, the UK, the Netherlands, Brazil, Israel, Serbia and Haiti. But it seems to have flown under the radar of the biggest and most prestigious documentary/experimental festivals.

This is surprising, given that Gede Vizyon‘s originality, its visual delights, and arresting balance between extreme simplicity and underlying complexity are suffi …


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