It might sound gloomy and dark, but the “theme” of Life and Death, detectable in some of the films in this year’s Nyon festival-at least if one was trying to look for a theme-was absolutely fascinating. Fascinating, because of the vastness of the subject matter (isn’t every documentary dealing with life and death and the meaning of life at some level?), and fascinating also because of the differences in filmic expression.
In the Regard Neuf section, two films-or rather film essays-from two young, talented Asian directors dealt with death and loss. Taiwanese director Chig-yi Wu reflects in “Farewell 1999” on the process of her mother’s dying and the director’s own feelings and reactions to her mother’s death. The film evokes emotions and moods in beautiful, associative images and sounds: a finger on a humid mirror, city lights at night and the humming sound of a ventilator. The director seems to trace her memories to remember her mother before she can let go and accept her death.
”Mum, mum, mum,” the director whispers with sorrow and longing. It’s emotional without turning sentimental or private. It’s a daughter’s mourning and reconciliation with death, expressing her thoughts and feelings through images and personal commentary:
”Everything fades, dear persons, familiar things,
Everything distant, persons’ dearness, things’ familiarity,
2003, I was searching for days in 1999 while mum’s still alive.
2003, those traces still lied in my memory.
2003, memory left me as well.
2003, mother’s image goes on forever in this film along with my sorrow.
2003, I do acknowledge 1999 has gone, and what about 2003? It’s fading.”
“Broken Blossom” by Naomi Matsuoka (Japan) echoes the mood of “Farewell 1999” with the same reflective approach and poetic vision. The director had a miscarriage, and the film, made in video-diary style, is her attempt to get over her sense of guilt and come to terms with her loss. In a personal off-screen voice, the director tells about her guilt of having lost her baby, “It’s not that the body is dumb, just strange.” In a little scene, she plays with small clay figures and a carrot in a window sill, allowing herself to imagine stories, this way letting the viewer in on her imagination. Matsuoka films her husband’s dying grandmother, making a link to a different death, the one of an old woman having lived a whole life. After the grandmother’s death, Naomi and her husband Hoshio travel to Chijo Island where she finds new hope for the future and winds up her film having gained new insight.
A pick from the international competition would be the Audience Award winner “Frozen Angels” by Frauke Sandi and Eric Black. The film is more of a social than scientific exploration of the future of human reproductive technology and genetic engineering. “Frozen Angels” is the second collaboration between Sandig and Black following “After the Fall” (1999). To some people, having children is the very meaning to life, and they are ready to go far to make their dream come true.
In Los Angeles, the leading city for reproductive technology, it is possible to rent the womb of a surrogate mother, choose egg donors from a catalogue of healthy, white, good-looking young women or buy sperm from Nobel Prize laureates. California regulations and control are non-existent and the market of selling and buying eggs and sperm is developing into a lucrative business. It’s the “Wild West of medicine,” as Lori Andrews, a prominent lawyer and author of “The Clone Age” calls it. In fact, it is easier to set up a sperm bank in LA than open a pizzeria, according to Bill Handel, a radio host who is also the head of an artificial fertilization agency.
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