Las reflexiones personales y políticas de May Shigenobu, hija del fundador del Ejército Rojo Japonés, y Masao Adachi, el legendario director experimental japonés, que abandonó el cine para tomar las armas y unirse a la causa Palestina.
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The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years Without ImagesDirigida porEric Baudelaire
Images long lost speak again... Despite the "subjects" Eric Baudelaire manages to reach beyond the layer of politics and ideology, creating a nostalgic mosaic - fragments of memories, a stream of consciousness. A meditation on landscape and its influence on society, on the meaning of "here" and our romantic pursuit of "here" somewhere else. The lack of a clear and obvious direction might be seen as a flaw by some.
Global politics, art, subversive?
Personalities in exile demonstrate a relationship between governments and humanity as a resistant force, so for those that might query whether radical perceptions are in some sense irreconcilable with beauty, here's an answer.
I loved hearing Adachi's voice and the stories he and May told about their life underground in Palestine. I always felt that PFLP was an incomplete film, and hearing his perspective on it now helped confirm a lot of feelings and expand more on the role of film and art in politics. Good shit Baudelaire.
May and Adachi's lives,these're like a door,to the reality of not a few people but invisible or be kept silent or repainted.i felt something "opposite",Nega or Posi of this superficial world.But as Adachi said,there's only life of "Here" for each lives.though this film consists of only sounds of two people's voices,landscapes & a few footages,it's so vivid,even exciting.Because it's magical for me.but it's a reality.
a documentary in which the 'here' in which the action happens is in the gap between image and voice, between the time of the film and the time of action, and the stories told are those of exiles at home
Like The Nine Muses, this documentary again is an example of experimental cinema that fails to create a solid, meaningful narrative that viewers can follow; I guess the point is that it's not meant to be 'followed' coherently, but in a more realistic, semi-conscious format - however I just don't enjoy watching such films. The images of an urbanised Japan were engaging and alluring - but the story? Not so much.
Audiovisual memoirs of two artistic individuals with their fingertips almost at contact in a wartorn world of secrets and dispossession. When people talk about 'seeing your life flash before your eyes' this is how I imagine it would look - ghostly meandering fragments of nameless places once inhabited, symbolic objects once inconsequential and the narration of memories that may or may not have been all your own.
A film that lacks definition & it is not clear what it aspires to. It is a convoluted collage of topics that barely scratches the surface. Visually it barely keeps track with the narrative. The film is less political than one would have expected bearing in mind its connexion with the notorious Japanese Red Army & this is arguably the missing link in the story. May's reflections are regrettably deeply insubstantial.