Eric Baudelaire, artist and photographer, films on Super-8 the political and personal reflections of May, the daughter of the founder of the Japanese Red Army Shigenobu, and of Adachi Masao, the legendary experimental filmmaker who gave up film to fight for the Palestinian cause.
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The Anabasis of May and Fusako Shigenobu, Masao Adachi and the 27 Years Without ImagesDirected byEric Baudelaire
Very good! This film took me by surprise. I expected it to be political, instead it's a nostalgic recollection of old, distant memories and reflection on them. The 8mm format was a perfect choice, it adds up to the nostalgic feel of the whole. There isn't a fixed topic or "story" to follow, it's very loose. The footage goes back and forth between Beirut and Tokyo, I guess it reflects Adachi Masao's past and life...
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.
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.
An elegant journal of radical lives lived, a passage to nowhere and the next generation. The recently shot 8mm footage keeps us drifting between present and past, giving us an opportunity to consider our own relationship to contemporary politics. Told through a future-invisible voice of May and her film maker father who's films were buried with their struggle.