For over 70 years, Colombia has been confronted with internal armed conflict. Over the years, the outlines of the conflict have grown indistinct. A climate of generalized violence has gradually settled over society as a whole.
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A nimble essay on the metaphorical and physical fabrication of images and the narratives surrounding them. The film stitches together a complex but thoughtful patchwork of anecdotes on image-making at varying scales - from the intimate/personal (tattoos) to mass production (the printing of newspapers) - to construct an impression of the violence, crime and historical pain that haunt Colombia as a nation.
3.5 stars. I wonder if the maneki-neko was a small respectful nod to Chris Marker. I appreciated the political engagement with colours and that such a formalist piece of essay work never lost sight of the human individual. Educational while neither hectoring or patronising. The punk music felt like a diversion chosen due to personal affection. But it would have been wrong not to include angry neccessary pleasures.
The confusing editing and the random particulars thrown into the pot with seemingly reckless attention do very little to honour the armed conflict Restrepo puts at the heart of the film. Impression is a fairly experimental affair, one that we should conclude did not achieve satisfactory returns.
I love how Camilo Restrepo makes the mixed media and very lowres videos work - not everyone can do that. Very engaging and actually informative. The tendency for shorts is to go vague and too abstract that one would be left feeling lost but Restrepo manages to both experiment and inform.
A very interesting meditation on Colombia's decades-long civil war that departs from an intriguing conceit - the defective newspapers sold on the cheap in the country to be used as wrapping. Restrepo is a talent to watch.
Interesting visual style and editing, accompanied by punk music that fits the atmosphere of chaos and conflict. The document presents different layers and angles, from an individual to nation-wide scale. With that said, I felt like watching absolutely random people, fragments of articles and photos, footage from the jungle - yes we get the idea of widespread violence and crime, but it seemed vague and distant...
Images matter, as does how they're constructed/dispersed. This short seems to me to be about the collective responsibility contained within certain images, whether shared on flesh or concrete. It at least suggests that the clarity of image does not make its content objectively truer. We inherit history from image/flesh, and can hopefully decipher the noise. 3.5