If you’re looking for a disorientating journey into the Sahara desert inspired by Touareg folk-tales, you’ve come to the right place. Zerzura looks and feels like a budget film, so don’t expect high production quality. However, you can expect a lot of magic, dreams, visions and djinn, as one nomad goes in search of his lost brother.
How much do you know about the Arab Spring in Yemen? If you followed the news, chances are you probably know more as the residents of Socotra. That’s because this alien looking island is approx. 380km from the Yemeni mainland and therefore untouched by the mainland’s politics. Unknown Land is a portrait of life on the island and the wandering thoughts of a half dead sailor, marooned on the island following a shipwreck.
Why Watch Unknown Land?
To see the uniquely beautiful landscape of the island of Socotra
If you like listening to dreamy narratives
For it’s musical interludes
To feel truly isolated from the rest of the world
The Breakdown
At the start of Unknown Land a man is washed onto one of the pristine beaches of island of Socotra. It appears that all of his energy was sucked out of him as he struggled to stay afloat after his shipwreck. All he can do is reflect on his past life and make peace with his past choices as he approaches death.
Meanwhile in one of the town’s of Socotra, a old man listens to an old radio as he smokes from a pipe fashioned from a goat horn. The radio gives us our only connection to the outside world. We hear that a sailing boat has sunk off of the shores of Socotra and all of the crew have gone missing. We also hear about the Yemeni protests on the mainland, but the old man’s indifference shows that these are insignificant to the inhabitants of Socotra. The island is too far away to be affected by what happens on the mainland.
The island’s isolation is reflected in the serene footage of Socotra. Firstly, the alien plants and landscape are unlike anything you’ve seen before. There are trees which look like spindly umbrellas, and mountains that disappear into pristine white beaches and emerald coloured sea. Secondly, the islands inhabitants rarely get any dialogue on screen, so you never get to connect with them. This is particularly noticeable with the old man who reappears throughout the film smoking from the same goat horn with a blank stare. The director deliberately emphasises the alien setting and distant people to make the island appear even more remote and dreamy.
Conclusion and What to Watch Next
If you’re into dreamy narratives and alien landscapes, then check out Unknown Land. However, if you’re more of an action thriller fan, it’s best you check out some film difficulty level 2 or 3 films before you watch this.
For another dreamy film from the Middle East, check out Ahlaam (literally translated as dream) from Iraq. It follows a few Iraqis before and after the Iraq War. Otherwise, if you’re looking for something surreal from the Middle East, check out The Challenge. It’s your chance to live the life of the richest Sheikhs in Qatar.
Or if you’re simply looking for easy to watch films from the Middle East, check out some of the following (they’re all great):
Wadjda: A Saudi Arabian coming of age tale featuring an awesome little girl
About Elly: A slow-burning thriller from Iran (although not the film to watch before you go on a big family holiday)
Silvered Water: A portrait of war-time Syria, a great documentary constructed from first-hand footage to experience the horrors of the Syrian conflict.
The Intruder does a lot in the opening 15 minutes. It develops the character of Ines rapidly to set the tone for the rest of the movie. We see that she works as a voice actor helping to dub foreign movies and is a part time chorister. We also find out that she has a lot of nightmares and is terrified of a lot of things such as planes and bats. There’s also her annoying boyfriend who helps to define her as the more grounded and normal of the two. All of this is crammed into the opening without feeling rushed, so when a catastrophe happens, we’re already familiar with Ines and her world.
This opening gives us a grasp of what’s normal for Ines. So, after her traumatic event, we can see that her life seemingly returns to normal. She’s back in the recording studio doing dub tracks and she’s back singing with her choir. The only things that change are her voice and a rise in the number of her dreams. But neither thing feels that alarming or unusual at first. Plus, it’s at this point that her mum shows up to help her recover from her trauma and a organist appears to rekindle her love life. They both help to enforce the normalcy of Ines’ life by appearing in the mundanity of it. But something just doesn’t feel quite right. Her life feels a bit like uncanny valley.
The director, Natalia Meta uses Ines’ dreams to establish the dream world as another place that exists beside Ines’ reality. It’s so close to her reality that we slip between the two with ease. The transition between the two worlds are aided by the darkness of Ines’ life. She moves from her dark apartment to the dark studio recording rooms and artificially lit choir hall and is never spotted in daylight. As she’s inside for most of the film, it’s hard to know what time of day it is at any point. As a result, we lose track of time, and with it our hold on reality. It’s hard to pinpoint when she’s dreaming or awake. The darkness facilitates the creation of Ines’ dream world and it’s merging with her everyday reality.
Head to our AFI Fest Hub for more reviews and short films from AFI Fest 2020.
Sonia is a precocious 8-year-old girl with a vibrant imagination. Her flashbacks and surreal flights of fancy help her navigate life as the daughter of Papi, a drug dealer who returns from New York to become the biggest crime lord in the city.
For a first time feature, Noelia Quintero Herencia captures the slightly zany tone of Rita Indiana’s novel very well. She creates 8 year-old Sonia’s world by depicting her imagined fantasies alongside her reality. Doing this makes it harder for the viewer to figure out which scenes are real, making Sonia a pretty unreliable narrator. However, it also paints an interesting picture of her relationship with her dad.
Her two main fantasies consist of her leading a TV game show and spending time with her dad in the U.S. Both feel upbeat and happy, deliberately contrasting with her lonely reality at home. However, they both contain her dad’s vices – vices that at her age she’s just becoming aware of, such as her father’s infidelity and life as a criminal.
Her fantasies capture her changing perception of her dad as she grows up. She still imagines him as her hero, and herself as his princess, in a way that feels like she’s trying to hold onto her happy childhood memories. However, coming to terms with his criminal character, represents the end of her childhood alongside her idyllic childhood fantasies.
For an imaginative coming of age story that leans heavily on visualizing a kid’s imagination, Papi is well worth a watch.
Head to our LALIFF 2021 Hub for more reviews from the 20th edition of LALIFF.
In Before, Now & Then, Nana finds security in a second marriage to a wealthy old man, having lost her family to the war in West Java. However, she cannot escape the dreams and trauma of her past, or the expectations of her new family and becomes a ghostly figure until she meets one of her husband’s mistresses. Together they can escape and find their own freedom.
Stylistically, Before, Now & Then feels heavily influenced by Wong Kar-Wai’s In the Mood for Love. Whilst the colors are more muted, the dreamy pacing and slowed down scenes between Nana and her second husband feel just like the slow romantic scenes between the two protagonists in In the Mood for Love. These scenes in both films are designed to convey uncertainty. In In the Mood for Love the uncertainty is romantic – we don’t know if the two characters will keep seeing each other. In Before, Now & Then, the uncertainty is melancholic. Similarly, we don’t know if the two characters will be together for much longer, however given that the two characters have been together for a while, it feels as if their relationship is dying instead of burning brightly.
The uncertainty of Nana’s relationship is symbolic of the state of the country. Just like the current Indonesian regime, she knows what she’s getting from her stable marriage to an older husband. Whilst it has confined her mostly to the house – and the back of the house at that, as she rarely shows her face publicly – she knows that she will be taken care of. However, there is no love in their relationship. The new freedom she gains with her husband’s mistress, in contrast, is exciting. It fills her with hope that things could be different and more free.
Whilst we have the hindsight to know that the political change happening in the background of Before, Now & Then wasn’t a positive one, the film captures the uncertainty of the times well with it’s dreaminess.
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