Taking as it’s starting a memory of watching “Platoon” for the first time, in a cinema that doesn’t exist anymore, this piece of docu-videographic essay discusses the chasm between remembering and reenacting; between sheer shock upon seeing violence on screen versus turning it into something prosaic
The critic is an individual used to sitting on the rear, especially the video-essayist, he is a sort of puppeteer who doesn’t reveal too much of himself. Here, in the heart of the pandemics, Kevin B. Lee virtually undresses in front of the viewer, reenacting one of the most impactful events from his cinephiliac memories: his first viewing of “Platoon”. The understanding of the violent images and gestures on screen haunted him as a child, as he tries to discuss it with his father and his friends at school, but it looks like he can only grasp it now, filming the blank walls of the back of the former cinema where, decades ago, he used to tremble out of fear. In just minutes, there’s this extraordinary ellipse, in similarity with the one from “2001: A Space Odyssey”, when the young adult finally sees himself as a fully formed grown-up. (Georgiana Mușat)
Kevin B. Lee este una din figurile proeminente a criticii videografice și, totodată, unul dintre fondatorii acestei discipline. Filmul său multipremiat „Transformers: The Premake” a fost declarat de Sight & Sound unul dintre cele mai bune titluri documentare din 2014. În 2017, a fost primul rezident al Institutului Harun Farocki din Berlin, unde a realizat mai multe eseuri video despre opera lui Farocki. A fost editorul fondator și video-eseist șef la Fandor, și a scris numeroase articole pentru The New York Times, Sight and Sound, Slate și Indiewire. În prezent este profesor de Crossmedia Publishing la Academia Merz, din Stuttgart.
LENGTH: 9 min.
COUNTRY OF PRODUCTION: USA/Germania
DIRECTING: Kevin B. Lee
SOUND MIX: Michael Baur
COLOR AND VISUAL EFFECTS: Irmela Nothdurft
CINEMATOGRAPHY: Kevin B. Lee
EDITING: Kevin B. Lee
SOUND: Kevin B. Lee
Taking as it's starting a memory of watching “Platoon” for the first time, in a cinema that doesn’t exist anymore, this piece of docu-videographic essay discusses the chasm between remembering and reenacting; between sheer shock upon seeing violence on screen versus turning it into something prosaic.
The traumatic fiber of war soldiers is often sealed with images. One of them is this one. We’re in Afghanistan. A Romanian soldier driving an armed vehicle sees a wounded child. His recurrent nightmare is gazing over her olive eyes asking for help yet doing nothing to save her.
There are rare cases when the lack of intervention could save lives. The protagonists of this film have to detach from their human empathy day by day, when they are asked to mediate between victim and aggressor. The interpreters can’t step into any of the sides, can’t walk into their shoes, and this dissolving task often festers wounds.
An ode brought to the joie de vivre, constantly threatened to be unraveled. In Tunis, a homosexual could be sentenced to three years of prison. In his four-wall den, Mouaad films his surroundings with eagerness, tenderness, spontaneity. He sings James Blunt songs, dances, chats with his cat; is there any hope for another day tomorrow?