This film is a poem for cinema, and it is an eternal reference to my mother, “near the beginning of” the ancestors’ visions of the future. “It barely needs to say that. The personal monologue is sewn that The entire film is filled with dedication to his mother and his homeland alike, as the director born in Lesoto is advocating from the past when it was Absent in Europe for his child He is Cinema, in its most motivated and rich form, calls on viewers to make the communications they will do between sight and sound.
The sound, in this case, is monologue, although it was launched by Diego Nogura, the result and the audio design. To both lyrical and dense, the MOSESE words give the public all kinds of narrative and objective signals, however it sometimes carries an abstract relationship, if any, to the unusual structures, which are activated on the screen. Sometimes, this text is very literary and writes it so that the Mosese trips itself is Karawi.
Since it corresponds to the repercussions of the CV with the manufacture of the third person-not to mention the forms of documentary films, imagination and art-to study the feelings of both Mosese in alienation as an African resident in Berlin and the state of the most general continent, in general, continues. The film’s stretching has become a few words, a real meditation.
This verbal excessive work contributes less friendly than its predecessor, which is driven by the narration for the year 2020, “This is not burial, it is a resurrection.” However, in the wake of the prominent first presentation in the Berlinale special section for this year, festivals and the most experimental distributors must excite the sensory and political effectiveness of the new film. In fact, there may be a pointed dimension of the rhetorical abundance of the film-an explicit drop of a long black sound.
Literally studded threads through the procedures are the frequent picture of a large length of scarlet tissue, their flour and texture rippled under the southern African sunlight, which extends through the rugged Lesoto scene such as the synthesis of Christo – in some scenes that are lined in the streets of a small market town. It appears that it represents both the bloodshed that color the country’s history (as a non -coastal land formed by British imperialism, the African racist separation in the surrounding South Africa) and the violence that continues its borders today.
At one time, the fabric directly leads to Manthabiseng (Siphiwe Nzima), a silent character inspired by a realistic woman who was killed by a crowd of her colleagues in Basto in 1991, after she failed to notice her child in a local store. Elsewhere, this worn ribbon stems from the BMW 325is shell, which is the same car model associated in the area with gang horror – elsewhere the lamp and spinning appear on the soil roads, such as Harming from Douom in Domi amid rural calm.
Manthabising is one of two human personnel indirectly by his attachments and anxiety in relation to his homeland. The other is Sobbo (Sobo Bernard, as an interpretation of himself), which is a doll on the sidewalk and herbs that the director met on his return to Lesoto, whose presentations and qualities seek to educate and recover his male colleagues. This is the investment gesture in the country and its people that may stimulate a degree of guilt in Mosese, who feels the displaced abroad, but is no longer at home where he was born. There is a lot of talking about a temporary family home, which was gradually built in corrugated iron on the edge of the city, but we never visit it. Perhaps he no longer stands, or perhaps the director hates to face his past.
In this film, the bauxicic is never exempted from the visceral ends of pain and difficulties, as in the frequent scenes of an elderly man and a small child who plows the earth strongly until their bodies are supplied in the soil. MOSESE and CO-DP Phillip Leteka calls the scene with the same balance between the intensity and saturation that is characterized by “this is not burial”-with this scarlet line often cut through the tires dominated by the AZURE and GRING Green of Agricultural Land. Lesuto, the director, is still the most dangerous country in Africa; The fabric intersects the victims and the perpetrators, and the population is connected to one sprawling wound.