A megalith rises from a sandy desert – or rather, a scale model of such a landscape. “I am the archive”, says a young female voice while ominous string music nails viewers to their seats. This opening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystopian story. After a century of genocidal ideologies and destructive speciesism, animals have enslaved humans and taken over the world. In a wave of hope, the statues of the past have been removed but new ones are being erected to suppress the will of the people. This is now a planet of apes, boars and lions, and a zoological revolution is reversing and recreating the atrocities of the 20th century. As animal figures watch the film archives of our world, it feels as if Lumière has been transported into a film by Méliès or Willis H. O’Brien. We are all well aware that history repeats itself first as tragedy, then as a farce. The time has now come for this farce, in which “political language inhabits our dreams and consumes us”, to allow the possibility of a “graceful and tender insubordination” to emerge.
影像由残缺变丰盛，声景也分毫必现。以前“作者”低头摆弄泥偶，仍有爱的目光。现在一头扎进缩微世界，抬头不见天。唯有以另一世界目光观看此世界的影像时，令人怅然。
黔驢技窮又一例
A megalith rises from a sandy desert – or rather a scale model of such a landscape. “I am the archive” says a young female voice while ominous string music nails viewers to their seats. This opening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystopian story. After a ...
#72ndBerlinale 3.5《残缺影像》+《辐射》+…「声音设计」不错//杰出艺术贡献奖
#72ndBerlinaleWeltbetrieb 槽吐过了冷静回头想想觉得还是牛逼的，睡着的20分钟主要是赶场太累+信息量过载大脑直接当机，此刻甚至想再回头看一遍。
