Want to watch a slow 3 hour documentary starring a group of Austrian factory workers? Probably doesn’t sound too enticing right?
Well you shouldn’t be put off. During these three hours you will gain a greater appreciation of life and death.
Why Watch Over the Years?
You want to watch a long documentary that explores the meaning of life
To understand what it is like living from week to week in Europe
See an example of the industries that have been left behind by modernization (this one is a good companion to Factory)
Get to know a group of Austrian’s intimately over a 10 year period
The Breakdown
The Anderl factory near Schrems (in Austria) once employed 250 people to produce textiles. In 2004 only a handful are still working at the factory.
This is the story of the handful still working at the factory in 2004. The film visits the group every few years over a ten year period to see how their lives are changing.
Ultimately, their lives are not changing. Even though the factory closes down, they end up in similar jobs after periods of unemployment. Some of them prefer their new jobs, some of them retire and pick up some hobbies. It is all pretty mundane – none of them leave town or try anything different to what is expected of them.
It is as if they are just living out their allotted time like the decline of the factory they worked at. The factory faded away with the tide of modernization and globalization. Similarly, over the ten years of filming, the characters slowly age, hinting that they (like us) will fade away too.
Conclusion
So what is great about this film then if it’s just a portrait of the mundane? Well, for me, it’s the incredible portrait of time passing. You get to witness this group of people experience ups and downs. You get to live their lives for 3 hours. And what does that give you? A much greater understanding of the meaning of life. It made me appreciate my mortality and the limited time I have on this earth. DEEP!
Angelika Levi’s Absent Present is one well made documentary. If you’ve ever listened to an episode of Malcolm Gladwell’s equally well constructed Revisionist History you’ll find similarities with Angelika Levi’s documentary method. Like Revisionist History, Levi starts with an event – in this case the disappearance of her friend Benji – and unravels the threads linked to it to uncover a whole chain of associations from colonialism to migration. Having explored more of the threads linked to Benji’s life, we see his disappearance in a new light.
Uncovering the Mystery by Looking at the Big Picture
Benji’s disappearance is a mystery that Levi tries to unravel by following his path. Born in Namibia, he was one of many young Namibian children that were brought to the GDR (German Democratic Republic otherwise known as East Germany) having survived the Cassinga Massacre (a South African bombing raid on Namibian independence fighters). He spent 11 years in East Germany from ages 3-14 at an orphanage and German school, and became a naturalized East German citizen. However, in 1989 the GDR collapsed, East and West Germany reunified, and Namibia gained its independence. As a result, Benji was sent back to Namibia despite having grown up in Germany. Back in his birth country, Benji was kidnapped by Angolan soldiers and forced to join their liberation struggle. He managed to escape and returned to Europe disguised as a tourist. He eventually made it back to Germany, but disappeared a few years later. Levi travels from Germany to Namibia and back to Germany in Benji’s footsteps to try and investigate his disappearance. But ultimately, as she retraces his steps she finds the foot prints of more African refugees in Senegal and Spain and starts to uncover the hypocrisy of anti-immigration policies. By following the footsteps of migrants like Benji, Levi gives us a look at the big picture, which gives us a context to help explain Benji’s disappearance.
The Hypocrisy of Anti-Immigration Policy
Levi starts her broader investigation with the Columbus monument in Barcelona, a grand 19th century column that celebrates the discovery of the New World. At the top, Columbus points towards his ‘discovery’, a world where Columbus received gifts of welcome and from which Spain gained incredible wealth and prosperity. The hypocrisy of the monument is that it celebrates a migrant that crossed oceans in search of wealth, whilst today the same country that benefited from the wealth of other continents turns away migrants with similar intentions.
Levi also highlights the underlying racism behind Spain’s treatment of African migrants in the Canary Islands, juxtaposing images of white tourists relaxing on beaches and running through woods with images of Africans detained in camps just meters from tourist hot spots. The fact that these camps, that almost specifically hold African migrants, are built on the foundations of former slave camps makes it all the worse. Seen in this context, it’s not surprising that Benji tries to return to Europe disguised as a tourist with bleached hair. For Benji, and the African migrants that are detained in Spain, Europe is the only option left in their attempt to survive. It’s “Barcelona or Barsaak” (the Wolof for land of the dead). Viewed in its historical context, the anti-immigration policies of Europe look like an evolution of the legacies of slavery and colonialism. The Africans were forcibly brought to Europe and the Americas as slaves, forcibly exploited in colonialism, and now they are forcibly shut out of the riches their work and land created, detained as migrants.
Whilst the big picture Levi uncovers in Absent Present doesn’t answer why Benji disappeared, it does connect Benji’s forcible removal from his home country, and forcible repatriation to a brutal history of exploitation. It uncovers a hypocritical and racist history that takes African bodies when they’re needed and discards them when they’re not. Seen in this context Benji’s disappearance is not a mystery, but a symptom of the legacies of slavery, colonialism, and illegal immigration.
What to Watch Next
If you’re looking for another documentary that attempts to find a missing person, check out Luis Ospina’s A Paper Tiger. It tries to track down a Colombian artist named Manrique Figueroa by interviewing all the friends he left behind.
Or if you’re looking for more films in which migration and colonialism are a major topic I’d recommend exploring the following:
Atlantics – a feature film from Senegal that conveys the impact of a lost generation venturing north on their friends and family back at home.
Tenere – a documentary that tracks migrants crossing the Sahara desert on the back of Mad Max style converted trucks in Niger in quests to reach Europe.
A Storm Was Coming – a documentary that artistically represents how the Spanish Empire erased the indigenous cultures of Equatorial Guinea.
Or if you’re just looking for more documentaries narrated in English by great German film makers, check out Werner Herzog. His film, Little Dieter Needs to Fly is a great place to start. It’s a film about the life of a German war survivor that becomes a prisoner of war in Vietnam.
“This isn’t Hollywood, this isn’t Bollywood, this is Nothingwood, because there’s no money”. – Salim Shaheen
Salim Shaheen is Afghanistan’s biggest film star. He’s Afghanistan’s working class hero (like Cantiflas or Charlie Chaplin) and action film star (like Sylvester Stallone or Arnold Schwarzenegger). It’s time for you to get to know him!
Why Watch Prince of Nothingwood?
To meet Afghanistan’s biggest film star
For a positive alternative to the negative war dominated footage of Afghanistan you’ll usually see
Salim Shaheen’s story mirrors the story of Afghani cinema. There should be no role for him or for film within the strict Afghani customs. Back when he was a kid, he was beaten by his mother and brothers when they caught him singing and dancing on film. He was also beaten when he was caught sneaking off to the cinema to see some of the Bollywood hits. He was beaten up whenever he got near to film! Simply put, dancing, singing, and acting were all taboo; it just doesn’t fit in strict Afghani tradition.
However, even though Salim Shaheen’s films are a triumph for creativity, you’ll notice there aren’t any women on camera. The director, Sonia Kronlund, is the only woman you’ll see in the whole film. That’s because she’s treated like a man because she isn’t from there. In contrast, Sonia’s female translator is always hidden off camera. According to Sonia, she refused to say anything on camera. As there are no actresses, some of the men have to dress up as women. Despite the apparently strict society, this is considered acceptable, perhaps because homosexuality is inconceivable.
If you’ve been wanting to go to Afghanistan but are worried about the security, this is the perfect film to see. You’ll meet the people, travel across the country (to Bamyan), hear the music, and see the food.
Conclusion
All in all The Prince of Nothingwood is a rare opportunity to see life in Afghanistan, and an equally rare opportunity to see a positive story from Afghanistan. Salim Shaheen’s story is a triumph for creativity in a society where access to cinematic resources is pretty much non-existent.
Taxi Tehran is filmed from a taxi cab driven by Jafar Panahi. As he’s driving round Tehran, he picks up a wide range of characters from a variety of backgrounds. It’s a perfect microcosm for real life in Tehran and Iran and the perfect disguise for a banned filmmaker to practice his art.
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