A hidden enclave in the shadow of baseball’s new Mets Stadium, the neighborhood of Willets Point, Queens, is an industrial zone fated for demolition. Filled with scrapyards and auto salvage shops, lacking sidewalks or sewage lines, the area seems ripe for tourist development. But Foreign Parts discovers a strange community where wrecks, refuse and recycling form a thriving commerce. Cars are stripped, sorted and catalogued by brand and part, then resold to an endless parade of drive-thru customers. Joe, the last original resident, rages and rallies through the street like a lost King Lear, trying to contest his immanent eviction. Two lovers, Sara and Luis, struggle for food and safety through the winter while living in an abandoned van. Julia, the homeless queen of the junkyard, exalts in her beatific visions of daily life among the forgotten. The film observes and captures the struggle of a contested “eminent domain” neighborhood before its disappearance under the capitalization of New York’s urban ecology. –Locarno Film Festival
Wiseman's true son. The political discourse only stands up because one sees the horrid nature of life, that all happiness is is finding some way to ignore your own personal tragedy. "How does one come to a decision on nothing?" Maybe that's a comment for all of us, rather than just Mr. Bloomberg...
Here we have a character study on a tiny little pocket in Queens about to be taken out by gentrification. What makes this one interesting is that it ditches the narrative and any kind of arguing-the-point instead just focusing on the people who struggle to scratch out an existence every day. Great work that's captivating, refreshing in it's approach and honest. 4 stars
This incredible experimental doc is now out in the US; we talked to the filmmakers at Locarno.
"Doubling is a paradigmatic trope in cinema, at every stratum from the technical doubling of apparatus and human perception, to the doubling
"A deserving winner of the Best First Feature prize at this year's Locarno International Film Festival," begins Adam Nayman in Reverse Shot