Page 77 - Metro
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FOCUS ON ASIA AND
                                                                                                         THE MIDDLE EAST




























































                              At the beginning of 3GD "G@KKDMFD (2016), Yuri Ancarani’s  But it’s all real. This towering obelisk, though unex
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                              KDUG FXW IURP WKH RSHQLQJ FUHGLWV WR D VWULNLQJ  SX]]OLQJ  it’s one of a quartet of steel plates standing in the sands
                              LPDJH  7KHUH  LQ DQ RWKHUZLVH EDUUHQ VWUHWFK RI VDQG   RI WKH %URXT 1DWXUH 5HVHUYH LQ ZHVWHUQ 4DWDU  HDFK P\V
                              stands a towering black rectangle, looming in the mid   WHULRXV REMHFW RYHU    PHWUHV WDOO  DV SDUW RI D ZRUN FDOOHG
                                                                                                      2
                              dle of the frame, in the middle of the desert. It’s a visual  – notably, here – $@RS 6DRS 6DRS $@RS. The eerie vistas
                              evocation of the monolith from         2O@BD .CXRRDX  may look like footage brought back from the surface of
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                              on the back foot. What is this shape? Is it real or a visual  limestone outcrops, the lifeless sands and the rustling
                              effect? What is its purpose, narratively speaking? And  EUHH]HV DUH RI WKLV ZRUOG  LI \RX ORRN FDUHIXOO\  \RX FDQ
                              what’s it doing in what’s supposed to be a documentary?  make out telephone poles.
                                o, FRXOG HYHQ WHOO \RX WKDW WKH ZKROH ĺOP LV VWDJHG  DQG  And the characters herein – the guy who drives a
                              that the people you see are actors,’ Ancarani has said,  /DPERUJKLQL ZLWK D SHW FKHHWDK LQ WKH SDVVHQJHU VHDW
                                    1
                              playfully. The men we see on screen, ridiculously wealthy  WKH PRWRUF\FOH JDQJ OHDGHU ZKR ULGHV D    NDUDW JROG
                              Arab sheikhs with lives of unimaginable luxury and leisure,  +DUOH\ 'DYLGVRQ  WKH IDOFRQHU ZKR ĻLHV KLV FRPSHWLQJ
                              BNTKC EH DFWRUV  EHKLQG WKHLU FGTSQ@s and white robes, at  ELUGV LQ D SULYDWH MHW  WKH PRWRUKHDG ZKRVH VRXSHG XS
                              least, they’re all interchangeable. The grand vistas of the  IRXU ZKHHO GULYH KDV D PXIĻHU WKDW ĺUHV VSDUNV LQWR WKH
                              desert make for such a beautiful background that they  VDQG OLNH ZRXQGLQJ JXQVKRWV t DUHQpW ĺFWLRQDO FUHDWLRQV
                              could’ve been employed just for visual resonance. And  EXW UDWKHU  VRPHKRZ  UHDO SHRSOH  (YHQ WKH ELUGV  WKH
                              WKLV PRQROLWK FRXOG EH D ZRUN RI &*,  LQVHUWHG LQWR WKH  PRVW XQGHQLDEO\ DXWKHQWLF HOHPHQWV RI 3GD "G@KKDMFD,
                              empty expanse to make the alien landscape seem even   could’ve been wrangled to tell a director’s story. The col
                              more alien.                                 lective noun for falcons? A cast.




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