The cinematography by Giorgos Ioannou is exquisite, and the political and social issues could not be more relevant. However it is apparent that this film is a master's thesis, and in places it loses its way. The narration takes the easy path into the passive voice; the refugees are taken advantage of, exploited, trafficked. The film omits the active role of the various mafias in running the refugee 'business'.
To be a political artist in Europe today necessitates tearing down borders. After twenty minutes I didn't get all the fuss around this film. The cinematography was decidedly patchy and gave the stench of a student film about a very important subject. But like the birds Radivojevic consistently returns to, this one gradually took off and left me stunned by the end.
Gives you a new perspective on this immigration problem that Europe is facing. Cyprus could easily be treated as an example of what migrants have to face and how geopolitical changes affects lives. What you may or may not like is somewhat personal approach. Visually, the film is very attractive. I especially liked many of these still shots -- they really build the atmosphere.
beautifully done documentary, wish I did not procrastinate and watch it right before expiration... part 4 and on is when it really grabbed my attention and thoughts. To skate around the serious subject: The song Μαιτρέσα was especially... & appearance of that FMJ hymn was quite surprising. the build up of us v. them mentality really has been a constant theme in history as a mean to amass unity & power......
Every facet of this film is beautifully made. For me the most poignant moment comes at the beginning of the 3rd chapter. Entitled Fear's Invention, it begins with a static shot of fresh fruits and vegetables to reveal a market colorful with people and produce. As we gaze upon the bounty, Radivojevic avers, "At all markets the free flow of capital is celebrated, the free flow of the world's citizens, not so much."
Fascinating. Cyprus seems a microcosm of the world and the realities and myths of the refugee experience with people fleeing war and persecution seeking help and instead meeting a bureaucracy that moves in slow motion when it moves at all, "patrons" who take advantage of them and hostile natives who see only what they want to see - mostly that most if not all refugees are lazy welfare cheats.
"A snapshot” taken "when the rhetoric of hate” [13 June 2016] from "that concentrated microcosm” of Europe, “most Cyprots," "the migrants are an amorphous body." Seyrettim. [07 July 2016] (I watched.) "And she brings me with her." “I really appreciated the framing." DuBois: “who shall let this world be beautiful?” Palestinian refugee activists. “Fascism out of here!" "A body we need to protect ourselves from."
Beautiful. Cyprus is beautiful, and the cinematography, and the words... And it's revealing to see this global crisis of migrant injustice from the perspective of that concentrated microcosm. But most beautiful was getting to see my truth - usually typed out in heated comments, chanted in slogans, bound by ugly necessity - expressed as art. Ideas meant to soar. Thoughtful; urgent; sincere. #NoOneIsIllegal 3.75
Considered portrait of the inward-looking nature of many Cypriots on the subject of migrants, and the lives this costs. Both lyrically and pointedly shot: one scene that stands out in memory is the official's description of migrants as all rowdy troublemakers with the visuals of several quiet women sitting calmly near the camera.
Sensible and stringent portrayal of the disappearing of an ethics of migration in an Europe increasingly xenophobe were the migrant becomes a "new category of criminal." A film that should be required viewing, at this time of American electoral anxiety, and European political disorientation.
A cinematically beautiful portrait of asylum seekers and fascists, and those that fall ideologically between them on the island of Cyprus. Evaporating Borders is a thoughtful examination of how and why vulnerable immigrant populations are demonized as told by immigrants and their opposers.
Seyrettim. Kıbrıs, iki toplumlu bir ada. Adanın temel iki etnik grubu olan Kıbrıslı Türk ve Rumlar'ın yanı sıra, Lübnan, Suriye, Rus, Yugoslav, Musevi, İtalyan, Yunan, (1974 sonrası) Türkiyeli etnik gruplar da var. Zaten, adada ana para kaynağı, yabancılar. Turizm, off-shore bankacılık sistemi, üniversiteler, vs. Kıbrıs, Yabancılar olmasa zaten ada ekonomisi yürümeyecek. Bunu bir kenara yazalım.